Journal of the stylistic of Persian poem and prose
volume Number 17، number In Volume 7، October 2024 ، issue Number 101

Linguistic and intellectual stylistics of Diwan Haji Mohammad Gilani and introduction of its manuscript

Javad Khanifar , Mohsen Zolfaghari (Author in Charge), Hojjatollah Omidali

Abstract

BACKGROUND AND OBJECTIVES: Haji Mohammad Gilani is one of the 10th century poets of Indian style. He learned mysticism from Allameh Maulana Mohammad Baqer Khorasani and Mullah Hasan Gilani, and his lyrical poems are full of mystic-romantic themes. The purpose of this article is to examine the style. The study of Haji Mohammad Gilani"s Diwan and the introduction of its unique manuscript.

METHODOLOGY: This research is descriptive-analytical.

FINDINGS: During the analysis of the style of Divan, it was found that the poet used different weights to convey mystical-romantic concepts. The use of current lines is noticeably repeated in his poems. At the lexical level, the use of slang words and terms has a high frequency. Also, his poems show a relatively high deviation in new compositions. At the intellectual level, mystic-romantic poems have the highest frequency.

CONCLUSION: Haji Mohammad Gilani is one of the poets of Indian style and his poems are simple and free of difficulties. He has paid more attention to mystical and romantic topics and his poems have relatively little coherence in the vertical axis. Almost 90% of his poems are mirdf.

Keyword
Diwan Haji Mohammad Gilani , manuscript , stylistics

• Dad, Sima, (2001), Dictionary of Literary Terms, Tehran, Marvarid, pp. 85
• Emadi Haeri, Seyyed Mohammad, (2008), text correction with an emphasis on the correction of Persian texts, Heritage Report, No. 25and 26, pp. 4-10
• Eshraghi, S. (2020). Badi. Kabul: Lazord Publications, p.46.
• Eshraghi, Seyyed Ali Mohammad, (2012) Badi, Kabul, Lajord Publications, pp. 46
• Farshidvard, Khosrow, (2003), On Literature and Literary Criticism, Volume II, Tehran, Amir Kabir, pp. 381
• Fatuhi, Mahmoud, (2019), stylistics, theories, approaches and methods, third edition, Tehran, speech pp. 247, 248and 275
• Fazilat, M. (2020). The principles of the science of meanings. Tehran: Zovar Publications, p. 15.
• Gholamrezaei, Mohammad, (2019), Persian Poetry Stylistics from Rudaki to Shamlu, Tehran, Jami, pp. 233
• Gilani, Haji Mohammad (BTA), manuscript, Asad Effendi Library, Istanbul, registration number 2622
• Hasanpour Alashti, Hossein, (2014), New Ways, Tehran, Sakhan, pp. 130
• Hassanzadeh, Hossein, (2000), Indian style and its selected poets, Yazd, Payam, pp. 28
• Hazin, Sheikh Mohammad Ali, (1955), Hazin's Tazkere, Isfahan, Affir Book Store Publications, pp. 155
• Hossam, I. (2017). Imagination images in Nasser Khosrow's court. Kabul: Curdoba Publications, p. 117.
• Jahanbakhsh, Joya, (1999), Guide to proofreading texts, first edition, Tehran, Mirath Maktoob, pp. 31
• Kazazi, M. (1989). Aesthetics of Persian speech (Baian). Tehran: Nashr al-Karzan, p.
• Khayampour, Abd al-Rasoul, (1989), Farhang Sakhonran, Tehran, Talaya, pp. 237
• King, Mohammad, (1984), Anandraj, Volume IV, Tehran, Khayyam Bookstore, pp. 2072
• Masoumi, Mohammad Reza, Fasharki, Mohammad, Radmanesh, Atta Mohammad, (2015), Specialized Quarterly of Persian Poetry and Prose Stylology (Bahar Adab), Year 8, Number 4, pp. 77
• Mohabati, Mehdi, (2007), New Badi, second edition, Tehran, Sokhon Publications, pp. 68
• Nasrabadi Esfahani, Mohammad Taher, (1938), Nasrabadi's book with corrections by Vahid Dastgardi, Tehran, Armaghan printing house, pp. 347
• Nikobakht, Nasser (2014), investigation of the musical role of rhyme in Mohammad Ali Bahmani's Ghazal, specialized academic journal in Dari, 16th issue, pp. 49-60
• Omidsalar, Mahmoud, (2008), a history of text correction in the West, Tehran, Dr. Mahmoud Afshar Endowment Foundation, pp. 189, 190, 467
• Omidsalar, Mahmoud, (2008), Allameh Qazvini's text correction rules and text correction technique, Baharestan Journal, No. 11and 12, pp. 189-206
• Rouhani, Masoud and Enayati Qadiklai, Mohammad, (2012), a look at row and its functions in Khaqati poetry, Fanon Adabi chapter, fifth year, number 2, pp. 67-88
• Sarafi, Mohammad Reza. and Venarji, Mozhgan (2014), layered stylistics, revolutionary and religious poems of Tahira Safarzadeh, Sustainable Literature Journal, No. 12, pp. 169-195
• Shafii Kodkani, Mohammad Reza, (1997), the poet of mirrors, Tehran, Aagh, pp. 64and 70
• Shafi'i Kodkani, Mohammad Reza, (2008), Poem Music, 12th edition, Tehran, Ageh pp. 395, 393, 391, 140, 157, 392
• Shamisa, S. (1996). Culture hints. Fifth Edition. Tehran: Ferdowsi Publications, p. 5.
• Shamisa, Siros, (1994), Generalities of stylistics, Volume II, Tehran, Ferdous, pp.153and 156
• Shamisa, Siros, (2012), poetry stylistics, Tehran, Ferdous, pp. 296
• Shamisa, Siros, (2018), A New Look at Badi, Second Edition, Tehran, Mitra Publishing, pp. 73and 74
• Tahedin, Jaleh, (1975), Repetition, Its Acoustic and Rhetorical Value, Magazine of Mashhad Faculty of Literature and Human Sciences, Year 11, Number 3
• Talibian, Yahya and Islamit, Mahdia, (2013), The Multifaceted Value of Rows in Hafez's Poetry, Literary Research Quarterly, No. 8, pp. 27-7
• Vahidian, Kamiar, (1996), Dictionary of Persian Phonetic Names, Mashhad, Ferdowsi University Publications, pp. 29
• Vahidian, Kamiar, Taghi, (2018), Weight and Rhyme of Persian Poetry, 7th edition, Tehran, University Publishing Center, pp. 61, 74, 9
• Waez Kashifi Sabzevari, Kamaluddin, (1990), Innovations in Poetry, Edited by Mirjalaluddin Kezazi, Tehran, Center, pp. 75
• Zareen Koob, Abdul Hossein, (1992), The Pilgrim of India (a collection of essays on Saeb and Indian style in the scope of literary research, Tehran, Qatar, pp. 77