Scientific Journals Management System

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Founded on Shii beliefs, Safavid dynasty adopted an ideological policy for its survival. It went so far as to develop directives and a set of principles for poets and composing poetry. For instance, poets were expected to write odes about the position of His Majesty the King, the true follower of the Imams, and the Imams, peace be upon them. By doing this, they received rewards from the court. With the increasing popularity of jurists, needless to say, the poets’ career dwindled. Indeed poetry’s audiences were not but ordinary people. Nonetheless, poets who had considered the Safavid court as a place to honor poets and a reliable institution for publishing their poems for a long time, left the Safavid court at this time. Instead, they took shelter in the great Mongol Timurid’s court in India, where literature, poetry, and poets were well-liked and gifts were bestowed on the poets. Therefore, the Iranian poets decided to immigrate to India for their art to be glorified and to gain the freedom and the initiative to expand the scope of their subjects, thoughts and poetic images and to increase the repertory of Persian words, expressions and images. This article aims to discuss briefly this matter.  

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Persian poetry first entered the Indian subcontinent during the second period of Qaznavid dynasty in the north of India and is mainly reflected in the poetry of such poets as Masoud Saad Salman. The second wave started with the Moghul invasion during which many Iranian scientists, scholars, poets and Sufis moved to the north of India. The result of this mass emigration was the emergence of such eminent poets as Amirkhosro Dehlavi and Amirhossein Dehlavi. During the Baberian period, the third wave took place. During this time, which lasted around three hundred years, India became the center of Persian poetry giving rise to a form that came to be labeled as Indian style of Persian poetry. This article attempts to conduct an in-depth study of three major poets of Indian style: Orfi, Zohori and Taleb-e Amoli. Moreover, it endeavours to show how their innovations in Persian poetry encouraged a host of indigenous Indian poets and the style of poetry that came to be called "Tarz-e-Khiyal", with Bidel-e Dehlavi being the most prominent poet of this style. Thus Persian poetry spread across India until the advent of the British colonization.

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Mir Kermani was one of the contemporary poets of Khwaju Kermani, whose complete collection of poems were published based on a manuscript copy belonging to Saeed Nafisi. His poems, despite being rich and full of meaning, have remained unknown for some reason. In this library research article, using the descriptive-analytical method, the Kermani poet was introduced, and his lyrics were studied from phonetic, linguistic, intellectual, and literary perspectives. Investigating the different aspects of Mir’s lyrics indicated that his lyrics lacking monorhymes were more compared to his contemporary poets, but the nominal monorhymes were considerable in his lyrics. Various types of literal arrays such as pun and balance were abundant in his poetry. The lyric poems had a fluent language, but occasional over-attention to figures of speech and the aesthetics of the words made his verses artificial. The motif of Mir’s lyrics was romantic, and the poet mostly used lovely descriptions of the beloved. Among the forms of imagery, simile was abundantly used in his poetry, while metaphors could rarely be seen and the share of novel metaphors in his lyrics was very small. Allusion and metaphor, the devices of brevity were rarely seen in Mir’s lyrics. Generally, the poet mostly focused on thematic concepts.   
 

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Systemic functional linguistics of Halliday is one of semantic approaches to the analysis and interpretation of literary texts as opposed to structural linguistics. In the present study, we have examined the applicability of this theory at the level of ideational metafunction to reread the style of the text of two travelogues of the Qajar era and to differentiate between language functions in both feminine and masculine styles through how they are represented in verb processes. The main question of this research is how to represent the experiences and observations of two authors during the journey through the transient structure formed in the processes that have depicted the experimental world of the two travelogues. By selecting similar parts in each travelogue, we examined five hundred process samples. After determining the type of each process and its statistics, we compared the frequency of the function of each of the six processes (material, mental, relational, verbal, behavioral, and existential) at the level of ideational metafunction. The results showed the higher frequency of the mental process in the Qajar lady’s travelogue, and the higher frequency of the relational process in the unknown man travelogue, respectively, indicating the greater attention of the Qajar lady to the inner world, and the greater importance of discovering relationships in the world around and evaluation of these relations in the mind and language of the male author. Through our examining the use of marginal additions in the two travelogues, it became clear that Sakineh Sultan used these additions 27% more than the unknown man in the text, which shows her paying more attention to recording details during the trip. In terms of the use of various marginal additions, the addition of place and accompaniment in the male author’s travelogue and the addition of degree, quality, intention, and cause in the female author’s travelogue are more frequent. This shows style differences in the two writings regarding the formation and depiction of outside world experiences in the mind and their representation manner in the language of these two authors. In terms of transitive structure in these two travelogues, wherever the writers are preparing the ground for expressing the main point, the sentences are less transient and wherever an important event and speech is presented, the degree of transientness of the sentences is higher. This means that verb processes in the foreground of the speech have more participants, are voluntary and positive, have real face, with high agency and ultimate appearance, and individuality is object and the degree of the object’s being influenced is more than the sentences in the background of the speech.
 

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layered stylistics is a sub-branch of stylistics. In layered stylistics, considering the situational context as a macro-layer, researchers break down the text into strata and study the style by examining the text strata and identifying prominent or frequent features. This type of stylistics can be considered as the most complete and accurate methods in stylisitcs. Due to the large number of manuscripts obtained from Hossein Kharazmi’s Divan, the authors use layered stylistic to prove the accuracy of their attribution to this poet.
In this research, in an analytical-descriptive approach developed by Mahmoud Fotouhi in his book, the lexical and ideological layers of Kharazmi’s Divan are analyzed. The words and combinations of verses as a unit of style analysis are also examined. It is suggested that the lexical layer is effective in discovering the ideology of the text and explaining the hidden power relations.
Results: In the lexical layer, regarding the semiology of words, vocabularies are divided into structural and process codes, and indicators, vocabulary marking, and repetitive words are introduced as stylistic components. From a stylistic point of view (lexical and ideological), all the copies obtained from the court are consistent and prove their attribution to Hossein Kharazmi. Also, the table of indicators including announcements, titles, histories, material, dates, places, etc., further reinforce this argument. Other elements such as typography, personal stylistics, and period and external music, confirm this issue.
The research finds that that among codes, religion has a high frequency. The codes of a process originate from the harmonious connection and function of religion and government on the one hand, and on the other hand, the domination and influence of religion and culture over government and documenting power over religion. These codes are very much in line with Kharazmi's thought. Also, the words related to the institution of love and mysticism have the highest frequency and repetition.