Document Type : Research Paper

Authors

1 Associate Professor in Persian Language and Literature, University of Tehran

2 PhD student in Persian language and literature, University of Tehran

Abstract

Nezami’s poetry has great rhetorical value. The poet’s attention to rhetorical principles and the relationship between the poet and the reader are the most important characteristics of Nezami’s poetry. Through the illustration of these characteristics, we can understand the poet’s ability in his poetic art and his influence on the audience. In Khosro and Shirin, the poet has used conversation more than in his other works. The reader’s presence and the poet’s attention to them are completely evident, and there is a mutual relationship between the speaker and the listener. Therefore, his poems have many different sentence moods, and by analyzing these moods, we can perceive their literary and artistic function. One of the syntactic characteristics of sentence is “mood” which has a very important function in rhetorical analysis of literature. Sentence mood indicates the interactive function of language and shows the extent of the relationship between the author and the reader. Accordingly, the sentence moods are the most effective principles of mobility and polyphony of the text. In declarative sentences, the relationship between the author and the reader is one-sided and the sentences have less mobility. However, in interrogative and imperative sentences, the audience interacts with the author and this interaction increases the text’s mobility. In this research, the role of sentence mood in Nezami’s Khosro and Shirin is discussed.

Keywords

آق‌اولی، حسام‌العلما (۱۳۱۵)، درر الأدب، شیراز، بی­نا.
آهنی، غلامحسین (۱۳۶۰)، معانی و بیان، تهران، بنیاد قرآن.
انوری، حسن و احمد گیوی (۱۳۸۷)، دستور زبان فارسی ۲، چ4، تهران، فاطمی.
تجلیل، جلیل (۱۳۸۵)، معانی و بیان، تهران، مرکز نشر دانشگاهی.
شمیسا، سیروس (۱۳۸۹)، معانی، تهران، میترا.
صفا، ذبیح­اللّه (۱۳۷۷)، آیین سخن، تهران، ققنوس.
مازندرانی، محمّدهادی (۱۳۷۶)، انوار البلاغه، چاپ محمّدعلی غلامی­نژاد، تهران ، مرکز فرهنگی نشر قبله.
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