volume Number 8، number In Volume 2، Summer 2015 ، issue Number 28

Sorrow fulness a Stylistic token of Shahriyar odes

Ali Azadmanesh(Author in Charge)

Abstract
It seems that the artistic selection of rhythms along with sentimental tone mixed with sorrow may have a close compact on the agreeability and attractiveness of the poem.The current research is formed in three levels: 1) Shahriyār odes and the repertory of classic literature, 2) prosodic rhythm, and 3) the frequency of sorrowful terms dominant throughout Shahriyār odes as a stylistic indicator. In the first level, the researcher found that Shahriyār’s viewpoint in his poems is a sort of passive and sentimental one; and his poem is a polished mirror of his inward and outward individuality. In the second level, all Shahriyār odes were studied and analyzed; it showed his supremacy in the frequent use of “ramal” meter as compared with Hafiz and Sa’di. This prevalence can be a reflection of a real lover soul and heart-sored that makes his tone sad and sorrowful in comparison with the above-mentioned poets. In the final level, choosing the first fifty odes from each poet, the researcher attempts, by the use of careful figures and statistics, to show the tone of Shahriyār word, as a stylistic indicator, is of his own. Hence, the words are echoes of his heart that originate from the depth of his fervent and sensitive spirit and soul; this is why his poem sounds sad and sorrowful

Keyword
Shahriyār odes , frequency of rhythms , sorrowful tone , stylistic indicator , Hafiz odes , Sa’di odes