Document Type : Original Article
Authors
1 M.A. Student of Persian Literary & language. Allameh Tabataba’i University. Tehran. Iran.
2 professor of Persian Language and Literature, Allameh Tabataba’i University, Tehran, Iran
Abstract
The syntactic and musical structures constitute two of the most significant stylistic features of any literary text, as they form the foundation for the rhythm, linguistic melody, and semantic organization of the work. Within this framework, *Manṭiq al-ʿUshshāq* by Awhadi Maraghei stands out as a prominent example in which the arrangement of syntactic components and their relationship with the musicality of language are distinctly manifested. One of the most remarkable stylistic traits of this poem is the poet’s avoidance of excessive use of *ezāfe* constructions—an inclination that is reflected not only at the semantic and syntactic levels but also in the musical dimension of the text.
Adopting an integrative approach that combines structural and cognitive stylistics, and employing a descriptive–analytical method, this study examines the implications of this stylistic feature. From a structural perspective, the reduction of *ezāfe* constructions simplifies syntactic–semantic relations, increases the frequency of balanced sentences, and contributes to a stable internal order within the text. From a cognitive perspective, this tendency directly aligns with the principle of linguistic economy and the reduction of the reader’s processing load, thereby enhancing semantic transparency and conceptual accessibility.
The findings reveal that Awhadi’s avoidance of *ezāfe* constructions not only enhances linguistic clarity and cohesion but also plays a crucial role in establishing a consistent rhythmic-musical pattern and increasing the likelihood of syntactic balance. Thus, the poet’s style emerges as the outcome of a dynamic interaction among syntactic, cognitive, and phonological factors.
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