Abstract
Stylistic analysis, as a branch of linguistics, seeks to explore all artistic phenomena within literary discourse. Stylistics aims to penetrate the world of texts and bridge the gap that often-characterized classical critical studies, both theoretically and practically. One of the most significant levels of stylistic study is the grammatical level.
Grammatical voice reflects the relationship between the verb and its participants, shaping the reader’s perception of agency and action. For instance, reading a sentence such as “These two teams played volleyball together” evokes a sense of energy and liveliness associated with the activity. The grammatical voice of a sentence, when analyzed carefully, reveals the author’s intention and contributes to the aesthetic value of a text.
Traditionally, grammatical voice includes several types—active, passive, middle, reflexive, reciprocal, and causative—each serving distinct stylistic and semantic purposes.
Among contemporary poets who consciously employ grammatical voice to express psychological and social concerns are the Lebanese poet Wadīʿ Saʿādah and the Iranian poet Hafez Mousavi. The grammatical voice in their poetry can be analyzed stylistically within the framework of the American School of Comparative Literature, which, influenced by René Wellek, emphasizes comparative analysis beyond the notions of influence or borrowing found in the French school. Thus, the two poets—though culturally and geographically distant—arrive at shared poetic truths through parallel creative consciousness rather than direct influence.
This descriptive–analytical study selects odes from both poets that share thematic and lexical similarities, examining how grammatical voice operates in their poems to reveal convergent or divergent representations of truth and emotion.
The research aims to answer two central research questions:
1. How is grammatical voice manifested in the poems of Wadīʿ Saʿādah and Hafez Mousavi?
2. What are the most promine