Characteristics of poets' style and classical poetry forms from the language of the famous Afghan poet Mr. Aghanoor Delsooz

Aghanoor Delsooz

Although in the poetry of all poets, elements can be found that distinguish their words from ordinary speech, but the way they use these elements is not the same. Like the element of imagination (along with the elements of language and music of poetry), it is one of the major tools of poetic expression. But in this context, among several poets of the same period, one may be more inclined to simile, one to metaphor, and the other to permissibility.

-2Features of the poet's style

A poet's style refers to a set of features that distinguish his poetry from the general poetry of the time.

Style has two main indicators, one is a deviation from the norm and the other is the frequency of this deviation.

Norm (norm) means a set of features that exist naturally and normally in the poetry of a period, and deviation from the norm, that is, getting out of this general routine. Frequency is the rate of repetition of this deviation in the poet's works.

For example, if we look at the sonnets of today's poets, we see that most of these poets have used clear and medium length weights such as "passive verbs, verbs", "verbs, verbs, verbs" and "verbs, verbs, verbs, verbs" and use These weights are a norm in this period of Persian poetry.

Then a poet like Simin Behbahani comes and, contrary to this norm, uses dull, long, and sometimes even emerging weights in his sonnet, such as "passive actors, passive actors" or "active actors, active actors, active actors, active actors".

This is a deviation from that norm and because it has happened a lot in the poetry of this poet (ie it has a high frequency), it is considered a stylistic feature of this poet. Of course, others have written poetry in these weights before and after this poet, but not so much that it is a stylistic feature for them as well.

With a simple statistical study, it can be seen that after the revolution in Iran, only about ten percent of the lyric poems were composed in these high weights, while in the books "Linear from speed and fire" and "Plain" Arjan "by Simin Behbahani The use of long weights is an obvious light feature (about six to nine times the norm of ten percent).

And that was just a light feature in the music element, and that was external music and just the weight. But a poet's style is made up of a set of features of his poetry from different angles, and it is not always easy to draw statistics from it. Some of the stylistic features of poetry are so hidden and complex that they can not be seen except with help and deep and expert digging, and the task becomes especially difficult when we want to relate these stylistic features to the poet's spiritual and intellectual qualities.

Let us now look at some other features of the poets' style of work

Human emotions are a major theme for poetry, but is it really possible to have emotion without an intellectual foothold? Every poetic feeling, if it is real and not artificial, is based on the poet's view of the world, and every human being, even if he does not know it, has a system of thought. By thought and thought, we mean here that part of the poet's thoughts which is manifested in his poetry, and by which we can say how he thought. But it should not be imagined that in order to find the traces of thought in the poetry of poets, we must follow wise poems or advice that have an educational aspect.

In Shahnameh and during the opening of "Gang Dej" by Kaykhosrow, Ferdowsi says in the language of the people of Afrasiab shrine:

Who does not deserve the princes / cutting the head of Kan is not a sinner

This statement is in fact the result of Ferdowsi's attitude towards governance, which has been put in the mouths of the people of the sanctuary. One or two centuries after him, Anwari says in a piece he has written in demand for increased benefits:

Kings should shed a hundred blood for an interest.

We see two kinds of thoughts in these two poems, and although both poets did not try to write poetry wisely here, Ferdowsi wrote stories and Anwari begged.

A poem is successful and lasting when there is an intellectual attitude on the other side of its emotional burden, so that if we restore its order to prose by removing its fantasies and other formal artists, that thought will remain.

To clarify this, let's look at two verses from Biddle:

Imagination has a ring in your saddle / whose color is nothing but anxiety

The distance to the destination is as high as the search engine / foot of the behavior becomes the road home

The first verse is full of images, but when we open it all, we will come to the conclusion that "your hair is troubled" and beyond that, nothing can be found in the verse.

In the second stanza, however, there is an idea. Contrary to the natural mentality that "one can reach home by movement and search", the poet says: "It is the search that shows the destination far away, and if we step on the skirt and walk in ourselves, this is the road, itself "Home will be the destination."

This is one of the characteristics of Biddle's thought and it has been expressed in the same way in the following three verses of the same poet:

In Persian poetry, compared to the number of poets, we have had few thoughtful poets, and even today there are few people who can find a coherent system of thought in their poetry. In most of the poems, what can be seen are adapted ideas that sometimes are incompatible with the poet's practical behaviors, and such poets in many poems only show their philosophical or mystical terms to the audience, but beyond those terms. Nothing dental can be found in their poetry.

Although in the poetry of all poets, elements can be found that distinguish their words from ordinary speech, but the way they use these elements is not the same. Like the element of imagination (along with the elements of language and music of poetry), it is one of the major tools of poetic expression. But in this context, among several poets of the same period, one may be more inclined to simile, one to metaphor, and the other to permissibility.

-2Features of the poet's style

A poet's style refers to a set of features that distinguish his poetry from the general poetry of the time.

Style has two main indicators, one is a deviation from the norm and the other is the frequency of this deviation.

Norm (norm) means a set of features that exist naturally and normally in the poetry of a period, and deviation from the norm, that is, getting out of this general routine. Frequency is the rate of repetition of this deviation in the poet's works.

For example, if we look at the sonnets of today's poets, we see that most of these poets have used clear and medium length weights such as "passive verbs, verbs", "verbs, verbs, verbs" and "verbs, verbs, verbs, verbs" and use These weights are a norm in this period of Persian poetry.

Then a poet like Simin Behbahani comes and, contrary to this norm, uses dull, long, and sometimes even emerging weights in his sonnet, such as "passive actors, passive actors" or "active actors, active actors, active actors, active actors".

This is a deviation from that norm and because it has happened a lot in the poetry of this poet (ie it has a high frequency), it is considered a stylistic feature of this poet. Of course, others have written poetry in these weights before and after this poet, but not so much that it is a stylistic feature for them as well.

With a simple statistical study, it can be seen that after the revolution in Iran, only about ten percent of the lyric poems were composed in these high weights, while in the books "Linear from speed and fire" and "Plain" Arjan "by Simin Behbahani The use of long weights is an obvious light feature (about six to nine times the norm of ten percent).

And that was just a light feature in the music element, and that was external music and just the weight. But a poet's style is made up of a set of features of his poetry from different angles, and it is not always easy to draw statistics from it. Some of the stylistic features of poetry are so hidden and complex that they can not be seen except with help and deep and expert digging, and the task becomes especially difficult when we want to relate these stylistic features to the poet's spiritual and intellectual qualities.

Let us now look at some other features of the poets' style of work

Human emotions are a major theme for poetry, but is it really possible to have emotion without an intellectual foothold? Every poetic feeling, if it is real and not artificial, is based on the poet's view of the world, and every human being, even if he does not know it, has a system of thought. By thought and thought, we mean here that part of the poet's thoughts which is manifested in his poetry, and by which we can say how he thought. But it should not be imagined that in order to find the traces of thought in the poetry of poets, we must follow wise poems or advice that have an educational aspect.

In Shahnameh and during the opening of "Gang Dej" by Kaykhosrow, Ferdowsi says in the language of the people of Afrasiab shrine:

Who does not deserve the princes / cutting the head of Kan is not a sinner

This statement is in fact the result of Ferdowsi's attitude towards governance, which has been put in the mouths of the people of the sanctuary. One or two centuries after him, Anwari says in a piece he has written in demand for increased benefits:

Kings should shed a hundred blood for an interest.

We see two kinds of thoughts in these two poems, and although both poets did not try to write poetry wisely here, Ferdowsi wrote stories and Anwari begged.

A poem is successful and lasting when there is an intellectual attitude on the other side of its emotional burden, so that if we restore its order to prose by removing its fantasies and other formal artists, that thought will remain.

To clarify this, let's look at two verses from Biddle:

Imagination has a ring in your saddle / whose color is nothing but anxiety

The distance to the destination is as high as the search engine / foot of the behavior becomes the road home

The first verse is full of images, but when we open it all, we will come to the conclusion that "your hair is troubled" and beyond that, nothing can be found in the verse.

In the second stanza, however, there is an idea. Contrary to the natural mentality that "one can reach home by movement and search", the poet says: "It is the search that shows the destination far away, and if we step on the skirt and walk in ourselves, this is the road, itself "Home will be the destination."

This is one of the characteristics of Biddle's thought and it has been expressed in the same way in the following three verses of the same poet:

In Persian poetry, compared to the number of poets, we have had few thoughtful poets, and even today there are few people who can find a coherent system of thought in their poetry. In most of the poems, what can be seen are adapted ideas that sometimes are incompatible with the poet's practical behaviors, and such poets in many poems only show their philosophical or mystical terms to the audience, but beyond those terms. Nothing dental can be found in their poetry.