خلاصة:
This article is dedicated to examining the prose style in the stories of Sadegh Hedayat. To this end, first, the stylistic features of his prose were extracted from his stories, and then these features were categorized under relevant headings. Based on the present research, it can be said that the most important features of Hedayat's prose are the use of some strange words from colloquial language, the use of foreign vocabulary, description for character introduction and atmosphere building, posing ambiguous questions, repetition of numbers, simple and sometimes flawed syntax, and finally, poeticism through simile, metaphor, and personification. The most important conclusion that can be drawn from examining the features of Sadegh Hedayat's prose and the mentality governing his stories is that the dark or despairing atmosphere of these stories is consistent with the language used in the author's prose.
ملخص الجهاز:
Based on the present research, it can be said that the use of certain strange words from colloquial language, the use of foreign words, description for character introduction and atmosphere building, posing ambiguous questions, repetition of numbers, simple and sometimes flawed syntax, and finally, poeticism through simile, metaphorical attribution, and personification, are the most important features of Hedayat's prose.
Here, by choosing metaphorical expressions, verbal tricks, and the use of literary and colloquial vocabulary and combinations against the self-display of Seyyed Nasrallah's language, who uses Arabic words with correct and authentic pronunciation, Hedayat has created a kind of alternative and antithesis that "leaves no doubt about their own information in the minds of the listeners," which is completely consistent with the humorous atmosphere of the story" (Baharloo, 1384: 36).
The only place where it might be said that Hedayat has gone to some extent to excess in the use of colloquial language is the story of Alaviyeh Khanum.
Two years after the publication of Three Drops of Blood, and in the long story Alaviyeh Khanum, Hedayat uses broken vocabulary in his prose to a significant extent, to the point where sometimes understanding the original words becomes difficult for the reader: "Hey young man!
Apparently, in Hedayat's psychological stories, and especially in the trilogy of Buried Alive, Three Drops of Blood, and The Blind Owl, repetition is a structural element.
7. Hedayat's prose is poetic, especially in The Blind Owl, Three Drops of Blood, and Buried Alive.
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