Journal of the stylistic of Persian poem and prose
volume Number 18، number In Volume 2، May 2025 ، issue Number 108

Stylistics of Divan-e- Bayani Kermani

Mohammad Mehdi Pourgholamali (Author in Charge)

Abstract

BACKGROUND AND OBJECTIVES: The Divan of Bayani Kermani is noteworthy for its composition during the transition period of Persian poetry from the Iraqi style to the Indian style, as well as for Bayani’s emulation of Hafez’s ghazals in his mukhammas. The collection includes mukhammasat, qasidas, ghazals, and fragments. The primary objectives of this study are to introduce the manuscripts of the Divan of Bayani Kermani and to analyze its linguistic, intellectual, and literary characteristics.

METHODOLOGY: The present research is a theoretical study conducted through library research using a descriptive-analytical approach. The study’s corpus consists of two extant manuscript copies of Bayani Kermani’s Divan housed in the libraries of the Anjuman-i Taraqqi-i Urdu Pakistan and the Topkapi Palace Library in Turkey.

FINDINGS: Bayani Kermani was a poet of the late 9th and early 10th centuries AH. His Divan contains approximately 2,700 verses, and his poetry is often devoid of novel imagery. The qasidas in his Divan are panegyrics, while his ghazals and mukhammasat often convey lyrical and mystical ideas. The sole fragment and single-line poem in his Divan serve as chronograms written to commemorate the deaths of two unnamed individuals.

CONCLUSION: Bayani follows the lead poets in writing his poems. Bayani Kermani"s imitation is so intense that out of the 86 makhms in his divan, 84 makhms were written to Following Hafez"s sonnets and all the verses of these ghazals are guaranteed in his makhmsat.

The expressive poems in praise of Shah Ismail Safavi and the theme of his dilemmas are often mystical thoughts such as leaving material ties, choosing the old and ascending to the upper world. His sonnets often contain lyrical themes such as love, glory and complaints from the beloved, playing witness, the pain of parting, and educational thoughts such as being careful, being careful of the world, seizing the opportunity of life and avoiding hypocrisy, and the only piece and verse of this work is History has been written.

Keyword
Manuscripts , Divan-e- Bayani Kermani , Stylistics , Safavi Period

• The Holy Quran.
• Ahmadi, A.(2013). Introduction, Correction, and Annotation of “Mansha’at” by Shahabuddin Abdullah Marvarid, PhD Dissertation in Persian Language and Literature, University of Isfahan.
• Alavi Moghaddam, M. (1998). Contemporary Literary Criticism Theories (Formalism and Structuralism). Tehran: Samt.
• Bayani Kermani, S.(n.d.). Bayani Kermani ‘s Divan, Manuscript, Registration No: 300b289, Karachi: Anjuman Taraqqi Urdu.
• ————————————.(1513.AD). Bayani Kermani ‘s Divan, Manuscript, Registration No: 979, Turkey: Topkapi Palace Library.
• Bigdeli, A.(1958). Atashkadeh Azar, edited by Jafar Shahidi, Tehran: Nashr Ketab.
• Dehlavi, A.(1982). Amir Khusrow Dehlavi ‘s Divan, Tehran: Javidan.
• Farahani Monfared, M.(2003). The Link Between Politics and Culture, Tehran: Society for the Appreciation of Cultural Works and Dignitaries.
• Goupamovi, M.(2008). Tazkereh Natayej al-Afkar, Qom: Majma’ Zakhayer Islami.
• Piri, M & Ghaderi, M.(2020). "A Stylistic Study of Saeb's Receptions of Hafez". Monthly Journal of Stylistics of Poetry and Prose (Bahar Adab). Year 13.NO.1. PP54-37.
• Hafez, S.(1939). Hafez ‘s Divan, edited by Pejman Bakhtiari, Tehran: Elmi.
• ________________________.(2011). Divan of Hafez, edited by Ghazvini, Ghani, Tehran: Asatir
• Homayi, J.(2002). Rhetorical Arts and Literary Techniques, Twentieth Edition, Tehran: Homa Publishing Institute.
• Isfahani, M.(1990). Calligraphy and Calligraphers, Tehran: Mostofi Library.
• Katebi Torshizi, M.(2003).Katibi Nishaburi “Tarshizi” ‘s Divan, Mashhad: Astan Quds Razavi.
• Kazazi, M.(1989). Aesthetics of Persian Speech, Bayan .(1). First Edition, Tehran: Markaz.
• Majlesi, M.(2008). Behar al-Anwar, Fourth Edition, Volumes 23 and 14, Tehran: Dar al-Kutub al-Islamiyyah.
• Mirafzali, Seyed Ali .(2011). Morvarid Kermani and the Wandering Quatrains, Tehran: Ma’arif.
• —————————.(2001). Bayani Kermani, Shahabuddin Abdullah, Encyclopedia of the Islamic World, edited by Bahmanian Deccan, Encyclopedia of the Islamic World, Vol. 5, pp. 53-54.
• Nafisi, S.(1984). History of Poetry and Prose in Iran and in the Persian Language until the End of the 10th Century AH, Volume One, Tehran: Foroughi.
• Naghavi, N. (2005). The Splendor of Verse: A Study of the Musicality of Poetry in Ferdowsi’s Shahnameh. Mashhad: Ferdowsi.
• Piri, M and Qadri, M. (2019). "An examination of the style of Saeb's greetings to Hafez". Monthly magazine of poetry and prose stylistics (Bahar Adab).Vol13. No.1.PP 54-37.
• Saba, M.(1964). Tazkereh Rooz-e Roshan, edited by Mohammad Hossein Rokn Zadeh Adamiat, Tehran: Razi Library.
• Safavi, S.(n.d.). Tohfeh Sami, edited by Roknuddin Homayoun Farrokh, Tehran: Elmi.
• Samarqandi, Dolatshah .(1987). Tazkerat al-Shu’ara, edited by Mohammad Ramazani, Second Edition, Tehran: Kalaleh Khavar.
• Shafiei Kadkani, M. (1994). Music of Poetry, Tehran: Agah.
• Shamisa, S. (2002). Stylistics of Poetry, Ninth Edition, Tehran: Ferdows.
• ________________.(1993). General stylistic, Tehran: Sokhan.
• Wasifi, Z.(1970). Badaye’ al-vaghaye’, edited by Alexander Beldorff, Tehran: Iranian Culture Foundation.
• Yarshater, E.(2005). Persian Poetry in Shahrukh ‘s period, Second Edition, Tehran: University of Tehran.
• Zarrinkoob, A. (1967). Poetry Without Lies, Unmasked Poetry, Tehran: Elmi.