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Showing 2 results for Rhyme
Seyyed Ahmad Parsa ,
Volume 17, Issue 66 (3-2010)
Abstract
Identical Rhyme is one of the important factors which plays a great role in turning up the lateral music of poetry. The fact that it is placed after rhyme containing verbal and semantic unity, has been the common denominator of all the definitions given for this very concept from the beginning to the present time. Deviating from these concepts, and employing linguistic capacities such as figurative, ironic and new metaphoric meanings in the context of discourse, Khaghani Shervani (515-595 after Hijrat), has challenged all the existing definitions in this respect and more specifically in the field of semantic unity in a way that he has presented 116 different meanings for "Identical Rhyme" only in a long (145-couplet ballad). In the present study, after demonstrating Khaghani's artistic capability in this field, we have made an attempt to revise the definition of Identical Rhyme as well. To achieve this purpose, all types of nominal, verbal and adverbial Identical Rhymes and the like, as reflected in Khaghani qasaed (odes ) were scrutinized.
Mohammad Hasan Jalâliân Châleshtari,
Volume 33, Issue 98 (5-2025)
Abstract
The goal of achieving an older, more authentic version of the Shahnameh requires meticulous attention to every element, from the general themes to the smallest details. The unique features of this work, in terms of its antiquity and impressive volume, make it one of the most important sources of the Persian language in various fields such as history, mythology, historical language grammar, and rhetorical techniques. They increase the importance of this special attention a hundredfold. With this approach, the current article deals with two main issues, under which some other topics are also addressed. The first issue is to find and prove some cases of using the words bād “wind” and gard “dust” containing the meaning of haste and speed, with or without the preposition az. Another issue focuses on the fact that in the critical revision of the Shahnameh, regarding seemingly unimportant topics that do not differ much between the recording of the oldest (i.e., Florence) manuscript and the consensus of others, such as key and effective issues about the meaning of the verses and the flow of the stories, it is essential to use maximum care and precision in the selection of recordings, and the mere presence of a word of this kind in the oldest manuscript should not be used to judge its authenticity and include it in the text. This question has been addressed by relying on the verse containing the first mention of Zahhāk in the Shahnameh: ke az mehr bahra-sh nabud andaki.
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