Journal of the stylistic of Persian poem and prose
volume Number 15، number In Volume 9، December 2022 ، issue Number 79

The study of style and content in the manuscript of Nami Kermanshahi’s Divan

Seyyed Jafar Azizi , Mohammad Ibrahim Malmir (Author in Charge), Gholamreza Salemyan

Abstract

BACKGROUND AND OBJECTIVES: Mirza Mohammad Nami Kermanshahi is one of the renowned poets of the 13th Century. In this essay, an attempt has been made to answer the question: What has caused the presence of figures of speech in his style? The study of style and content in the poet’s divan from the three intellectual, lingual, and literary aspects based on the existing scripts was the methodology of the essay.

METHODOLOGY: An analytical-descriptive method has been used in writing this essay.

FINDINGS: By reviewing Nami Kermanshahi’s divan, we can point out these prominent poetic features in his style. 1-Significant Lingual Features: A) Phonetic Features The lack of metric variety, metric slips, a greater frequency of poems without Radif than those with Radif in all used forms except for Ghazal, and a tendency to use literal figures of speech. B) Lexical Features: Frequency of Arabic words, exploitation of colloquial words, formation of words and composition, exploitation of modern words. C) Syntactic Features Subject-verb disagreement, ancient verbs, two prepositions for one complement, noun-adjective agreement. 2-Significant Literary Features: Types of alliteration, types of repetition, schemes of balance, paradox, allegory, allusion, simile, metaphor, trope, and irony. 3-Significant intellectual features: The concepts and teachings of Quran and Hadith, moderate mysticism, eulogy, lamentation and description, astronomical expressions and beliefs, music-related expressions, academic interpretations, diseases.

CONCLUSION: Five manuscripts of his divan have been identified that were the source material of this essay. His divan includes qaside, ghazals, qet’e, Chronograms, rubáiyát, two masnavis, and one tarji’band. The exploitation of figures of speech and the creation of vivid and poetic images are among the general features of his poems. Except for a few cases, he does not pay much attention to rhyme, especiallly the long ones. His fondness for the members of Ahl al-Bayt is visible in most of his poems.

Keyword
Nami Kermanshahi , Divan , Literary Return Period , Literary style and content

• Azraqi Heravi. (1918). Divan, Edited by Sa’eed Nafisi, Tehran: Zavvar, p.50.
• Divan-Beygi Shirazi, A. (1988). The Garden of Poets, Edited by Abd al-Hussein Nava’i, Tehran: Zarrin.v.3. p.1843.
• Hedayat, R. (2004). Majma’ Al-Fusha, Correction of the manifestations of Musfa, Tehran: AmirKabir.v2/1. pp.218-219.v2/3. pp.1602.
• Kashefi, M. (1991). Badi` Al-Afkar fi Sani` Al-Asha`ir, Mirjalal-Din Kazazi, Tehran: Center publication. p.91.
• Moqaddam, M. (2014). Ethrevrinan, Estrabad and Gorgan (Estan Golestan), Tehran: a book published. v.1. p.487.
• Nami Kermanshahi, Divan, handwritten copy of the book, Khanna Mibdi. -Nami Kermanshahi, Divan, handwritten copy, copy of Shamara 2628, book of Milli Tabriz.
• Nami Kermanshahi, Divan, Handwritten version of Shamara 32972, Sazman Isnad and Book of Milli Iran.
• Rastgu, M. (1992). Eham Dor Persian poetry, Ma’aref, N.22, pp.83-37.
• Seyyeda Nasafi. (2004). Hassan Rahbari's Diwan of Correction, Tehran: Al-Huda. p.428.
• Seyyed Yonesi, M. (2015). the index of this copy of the book, the Markazi of Tabriz, and Yarash Hadi Hashemian, Tabriz: Sotoudeh.
• Shakeri, B. (1960). Memorized by a summary of my poems Kermanshah, Kermanshah: Sa’adat.
• Shamisa, S. (1998). Negahi Taze Be Badi', Tehran, Ferdos. p.83.
• Shamisa, S. (2006). Statement and Meanings, Tehran: Ferdos. p.48, 94.