چکیده:
Some literary texts are formed in relation to other texts, and in this sense, texts in their world have various intra-textual and intertextual relations. In the meantime, usually one of the texts is ahead of the others in terms of time. After Saadi, Golestan and his style of expression, themes, compositions and images were given general and special attention, and his simplicity, clarity of expression and kindness of speech caused him to become a role model among writers and various works based on It is created as Baharestan Jami in the ninth century, Parishan Qaani in the twelfth century and the poor ruins of Shirazi in the thirteenth century are examples of such examples. The present study, in a descriptive-analytical and statistical manner and based on library studies, seeks to study Golestan, Baharestan, Parishan and Kharabat from the rhetorical point of view and from the perspective of spiritual industries (simile, metaphor, metaphor and irony) and show that What is the basis of Golestan in terms of judging the use of the spiritual industries of the other three? Findings show that some features were applicable in all four works, including the predominance of sensory similes compared to the rational and less permissible existence, but some features are considered a special feature between Golestan and others, such as Baharestan in balanced image resolution and volume And disturbances in shared images.
خلاصه ماشینی:
After Saadi, his Golestan and its style of expression, themes, compositions, and imagery received general and special attention, and his simplicity, clarity of expression, and elegance of speech caused it to become a model and pattern among writers, leading to the creation of various works based on it; such as Baharestan by Jami in the ninth century, Parishan by Qaani in the twelfth century, and Kharabat by Faqir Shirazi in the thirteenth century as examples of such counterparts.
The research findings show that some characteristics were present in all four works, including the dominance of sensory similes over intellectual ones and the presence of less metonymy; however, some characteristics are considered unique features between Golestan and its counterparts, such as Baharestan in clarity and balanced pictorial volume, and Parishan and Kharabat in shared imagery.
(See: Razmju, 1374: 158-181) Saadi's style was imitated by approximately 47 works after him, including: Negarestan by Muin al-Din Juwayni, Negarestan-e Bimanand by Ibn Kamal Pasha (Atah, 1351: 175), Akhlaq al-Ashraf by Ubayd Zakani, Shekayat-nameh by Mahmoud Zati (Monzavi, 1351: 711-713) Parishan by Mirza Habib Qaani (ibid: 729), Kharabat by Faqir Ishtahbanati Shirazi, known as Muin al-Sharia (ibid: 745) Bustan al-Arifin and Golestan al-Abidin by Zayn al-Abidin, Shekarstan by Mir Mohammad Momen Arshi (Daneshpajouh, 1350: 203) Baharestan by Jami (Zarrinkub, 1375: 180), Ma'dan al-Jawahir by Mulla Tarzi (Safa, 1370: 1722) 2-1- Research Aim and Question The aim of the present research is to investigate and compare Golestan with Baharestan, Parishan, and Kharabat from a rhetorical perspective.
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