Review and analysis of the stylistics of Alireza Qazweh's works

Dissertation for receiving a master's degree

in the field of Persian language and literature, resistance and sustainability literature

Abstract

Alireza Qazweh, an Iranian poet and writer born in 1342, is one of the poets of resistance and sacred defense. He has many works in the field of resistance and sacred defense, and most of them include poems and stories, travelogues, etc. Signs of holy defense, protest, religion, Ashura movement and resistance are clearly visible. The purpose of this research is to examine and analyze the stylistics of Alireza Qazweh's works. For this reason, we examined the works of poetry and literary prose of Qazwah from three aspects: linguistic, literary and intellectual.

First, we defined stylistics. Then, by introducing Alireza Qazweh, we mentioned his literary life and works, and then we examined Qazweh's literary works from three aspects: linguistic, literary and intellectual. Alireza Qazweh has published works in poetry and prose. By examining his prose works, a linguistic feature that can be expressed for Qazwa is the combination of poetry and literary prose. Another linguistic feature of Qazwah's prose works is the use of colloquial language in the text. A lot of use of Arabic words and terms, a lot of use of mythological and historical names, repetition of words, adding sounds and sounds among his poems is another linguistic feature of Qazwah's works.

But regarding literary features, Qazwah is a lyricist and also a lot of use of simile, allusion, recognition and diction can be seen in Qazwah's collection of works.

By examining his works And Qazwa's poems in the intellectual field, for him, we reached five main axes, which are mostly in this field of hymn poetry, which we refer to those five axes: Alireza Qazwah and the literature of sacred defense, Alireza Qazwah and ritual and religious poems, Alireza Qazwah and the Ashurai movement, Alireza Qazwah and the protest poetry, Alireza Qazwah and the literature of resistance and stability. Qazwah has also paid a lot of attention to the common contemporary literary genre, the literature of resistance and sustainability. Among Qazwa's thoughts is to defend the oppressed in all parts of the world regardless of their religion.

Key word: Alireza Qazweh, stylistics, literature of sacred defense, literature of resistance

First part: General

1-1-1-statement of the problem

Alireza Ghazoh, an Iranian poet and writer born in 1342, is one of the poets of holy resistance and defense. Since his youth, he was interested in poetry, religion and homeland, and at the same time, he witnessed the occupation of Palestine and the war imposed on his country, and observing this situation created a kind of protest spirit in his personality. In a way that has influenced his poetry as well, and has found real expression in the poem titled (Mola had no villa).

As a revolutionary and protesting poet, although he was present in the front of right against wrong, he was separated from the caravan of martyrs of the eight years of holy defense, and because he had seen the sincere behavior of those martyrs with his own eyes, he criticized the current situation and the misuse of the names of martyrs by some people. It is open.

He has many works in the field of resistance and holy defense, and most of them include poems, stories, travelogues, etc. The elements of sacred defense, protest, religion, Ashura movement and resistance are clearly visible. For this reason, we examined the works of poetry and literary prose of Qazwah from three aspects: linguistic, literary and intellectual.

First, we defined stylistics. Then, by introducing Alireza Qazweh, we mentioned his literary life and works, and then we examined Qazweh's literary works from three aspects: linguistic, literary and intellectual. In this review of his linguistic features: The extensive use of Arabic words and terms, the repetition of words, sounds, and the extensive use of mythological and historical names have been investigated.Among his literary features, the extensive use of simile, diagnosis, allusion, alliteration, and lyricism, and from the intellectual aspect of his works, five axes with the titles: sacred defense literature, ritual and religious poems, Ashura movement, protest poetry, and literature of resistance and stability have been examined.

1-1-1-1-Legical definition Stylistics

From the lexical point of view, the word "style" is an Arabic singular infinitive. It means to melt and pour and mold gold and silver and "sabike" means melted and molded pieces of gold and silver. It is derived from it (Shamisa, 1382: 11). It is used: personal style, period style and literary style.

Personal style: it is the special style of a poet and writer, and his works throughout the centuries are visibly different from the work of anyone else (such as Ferdowsi, Nizami, Hafez). (Ibid.: 9)

Style of the period: the general style is more or less common to all poets and writers of periods in the history of literature. For example, the coordinates that can be seen in the poetry of the fourth and fifth centuries. (Ibid.: 10)

Literary style: it is the difference between literary works and non-literary works. Literary works in the world have their own coordinates. (Ibid: 10)

1-1-1-3-style division

What is most interested in poets, writers and researchers is the period style. Most importantly and most commonly, the division of style is based on period. Therefore, the periods of Persian poetry are divided as follows:

Khorasani style: second half of the third century, fourth century and ninth century

intermediate style or Seljuk period: sixth century

Iraqi style: seventh, eighth and ninth century

intermediate style or the school of occurrence and combustion: 10th century

Indian style: 11th century and the first half of the 12th

Return period: the middle of the 12th century to the end of the 13th century

Intermediate style or the constitutional period: the first half of the 14th century

New style: from The second half of the 14th century onwards. (Ibid.: 13)

Nimai style is one of the most important developments in poetry and prose of Persian literature. Rows and rhymes, which are one of the pillars of Persian poetry, were considered barriers for poets. For this reason, Iraj Mirza provided the basis for the emergence of new Persian poetry with his poem "Literary Revolution" and Nima Yoshij created a novelty in Persian poetry in terms of form and content by writing the romantic poem "Fable". New descriptions and interpretations are seen in it. The power of imagination has also increased in it. (Ibid.: 463)

1-1-1-4-Types of New Style

There are three common styles in New and Nimai style poetry:

Free poetry: it has a prosaic weight, but the place of the rhymes is not clear.

White poetry: although it is melodious, it does not have a prosaic weight, and the place of rhymes is not clear.

New wave poetry: not only does it not have a prosaic weight, but it also does not have a melody and rhyme, and its difference from prose is usually in the presentation of content and specific style of expression, and in general, in the poetic imagination. (Ibid.: 346)

What is more important in the literary analysis of a literary work is the linguistic, literary and intellectual characteristics of that work. (Gholamrezaei, 2017: 249)

In linguistic features, attention is given to words and words, and in literary features, to literary works and arrays, and in intellectual features, attention is paid to the thoughts and views of the writer or poet.