دانشگاه رازی پژوهشنامه متون ادبی دورۀ عراقی 2821-2371 4 4 2023 12 22 A reflection on the explanation of some verses of Khaghani's poems تأملی در شرح چند بیت از قصاید خاقانی 1 18 2884 10.22126/ltip.2023.9596.1189 FA جمیله اخیانی دانشیار گروه زبان و ادبیات فارسی، دانشکده علوم انسانی، دانشگاه زنجان، زنجان، ایران Journal Article 2023 09 08 Khaghani's poems are one of the most difficult and the most complex Persian poems, and many commentaries have been written on these poems since long ago. Much has been said about the Factors of this complexity and what has caused the difficulty of understanding his poems accurately, and many efforts have been made to solve these difficulties. Despite this and despite the valuable efforts of commentators and Khaghani scholars, the knot of some verses of Khaghani's poems remains unsolved and the meanings provided by commentators for these verses do not seem convincing. Some of these ambiguities are related to Khaghani's special way of making words and combinations, and others are related to his special way of using words, verbs, phrases, etc., which has created a amazing style but the ambiguity of some of his other verses is due to their incorrect reading. In this article, we have tried to resolve the ambiguity of some verses of his poems with the help of evidence from Persian literature and evidence from Khaghani's poetry and in one verse by using one of the using one of the parallel descriptive texts. Based on this, we are going to explain some verses whose meaning remains unclear despite the explanations of the commentators. Also, by correcting the reading of a verse that has become ambiguous due to misreading, we try to provide an acceptable meaning for it. Introduction: Khaghani's poems are one of the most difficult and the complex Persian poems, and many commentaries have been stated on these poems for ages. Much has been declared about the factors of this complexity and what has caused the difficulty of understanding his poems accurately, and many efforts have been made to reslove these difficulties. Despite these valuable efforts that have made it possible to solve many of the difficulties of Khaqani's poetry, there are still many verses in his divan that the explanations of them do not convince the reader and require more detailed research. Some of these ambiguities are related to Khaghani's special way of making words and combinations, and others are related to his special way of using words, verbs, phrases, etc., which has created an amazing style but the ambiguity of some of his other verses is due to their incorrect reading. In this article, we have tried to resolve the ambiguity of some verses of his poems with the help of evidence from Persian literature and evidence from Khaghani's poetry and in one verse by using one of the using one of the parallel descriptive texts. Based on this, we are going to explain some verses whose meaning remains unclear despite the explanations of the commentators. Also, by correcting the reading of a verse that has become ambiguous due to misreading, we try to provide an acceptable meaning for it. Materials and Methods: In this article, attempts have been made to resolve the ambiguity of some verses of Khaghani poems. These verses are: دل خاکی به دست‌خون افتاد اشک خونین دیت‌ستان برخاست (خاقانی،1374: 60) The earthy heart fell into bloody gambling, the bloody tears became the recipient of the blood money (Khaghani, 1937, P. 60) بعد کشتن قصاص خاقانی از در شاه شه‌نشان برخاست (همان:62) After killing Khaghani, his punishment was carried out from the court of a king to whom other kings are subordinate (The same source, P. 62). شب که ترکان چرخ کوچ کنند چند ترکان کنند بر سر کوچ کاروان حیات بر حذر است غارت کاروان که بر گذر است (همان: 65) At night, when the Sky Turks move, the caravan of Hayat is on the alert. Turks loot the caravans on the way when immigrating (The same source, P. 65). هر که از راه گوش کشته شود زاندرون پوست خون او هدر است (همان: 67) Whoever is killed by the ear, his blood is wasted (The same source, P. 67). خاکپاشان که بر آن سنگ سیه بوسه زنند از بسی سنگ سیه بوسه زدن وقت وداع نور در جوهر آن سنگ معبا بینند چشمة خضر ز ظلمات مفاجا بینند (همان: 98) Those who kiss the black stone will see the light in the essence of that stone. Kissing Hajar al-Aswad while saying goodbye to it suddenly shows them the Khidr spring (The same source, P. 98). به حق آنکه دهد بچگان بستان را سپیدشیر ز پستان سرسیاه سحاب (همان: 50) By the right of the one who gives the children of Bostan (flowers) a white lion from the breast of the black head of Cloud (The same source, P. 50). In this article, attempts have been made to resolve the ambiguity of some verses of Khaghani's poems. Accordingly, the opinions of the commentators of the mentioned verses have been mentioned, and followed by that, the reasons for the inaccuracy or inadequacy of their opinions have been discussed. last but not least, by the assistance provided by the evidence from prose and verses of Persian literature and the evidence from Khaghani's own poetry, a more meticulous explanation has been provided, in this respect. Also, by using Ibn Battuta's travelogue, which is referred to as a descriptive text, the ambiguity of two consecutive verses about Hajar al-Asvad (black stone embedded in the house of the Kabe) has been resolved. Also, by correcting the reading of a verse that has become ambiguous due to the misreadings, we have tried to provide an acceptable meaning in this regard. Results and Discussion: In this article, it has been shown that it is necessary to pay attention to several points to understand the concept of Khaghani's poetry more precisely. Prior to anything, is the poet's unconventional word formations with the suffix "Setan". Secondly, the specific use of verbs is addressed. As an instance, the known verbs are used to convey the unknown meaning; including the verb "to kill" which the poet used to mean "to be killed". The third is to pay attention to alliteration and verbal proportions, which is highly desired by the poet, and with the help of this alliteration, the misreading of a verse is corrected. Last but not least, the fourth is to pay attention to the poet's special combinations and metaphors. In two consecutive verses, to get Khaghani's description of the Black Stone, Ibn-e Battuta's travelogue is referred to. In this article, composition of "Hadar raftan-e khun" (waste of blood) means to be killed, which is not found in Persian dictionaries. Conclusion: Khaqani's works are one of the most difficult Persian poems. The new method, which is used in the poem "Tarigh-e gharib" (strange way), has made it difficult to be similar to his poetry. Unlike the poetry of Sadi and Hafez, it is difficult for ordinary people to get connected with this type of poetry. Despite the valuable research that has been done in the analysis of Khaghani's poems, there are still many verses whose meaning has not been unraveled. In the current research, factors such as paying attention to Khaghani's special way of wording, his different way of using words, expressions and terms, using travelogue of Ibnu Batuta, the correct reading, incorrect or insufficient meanings presented for some verses have been have been taken into account in Khaghani poems to be revised and their semantic knots to be opened. دل خاکی به دست‌خون افتاد اشک خونین دیت‌ستان برخاست (خاقانی،1374: 60) The earthy heart fell into bloody gambling, the bloody tears became the recipient of the blood money (Khaghani, 1937, P. 60) بعد کشتن قصاص خاقانی از در شاه شه‌نشان برخاست (همان:62) After killing Khaghani, his punishment was carried out from the court of a king to whom other kings are subordinate (The same source, P. 62). شب که ترکان چرخ کوچ کنند چند ترکان کنند بر سر کوچ کاروان حیات بر حذر است غارت کاروان که بر گذر است (همان: 65) At night, when the Sky Turks move, the caravan of Hayat is on the alert. Turks loot the caravans on the way when immigrating (The same source, P. 65). هر که از راه گوش کشته شود زاندرون پوست خون او هدر است (همان: 67) Whoever is killed by the ear, his blood is wasted (The same source, P. 67). خاکپاشان که بر آن سنگ سیه بوسه زنند از بسی سنگ سیه بوسه زدن وقت وداع نور در جوهر آن سنگ معبا بینند چشمة خضر ز ظلمات مفاجا بینند (همان: 98) Those who kiss the black stone will see the light in the essence of that stone. Kissing Hajar al-Aswad while saying goodbye to it suddenly shows them the Khidr spring (The same source, P. 98). به حق آنکه دهد بچگان بستان را سپیدشیر ز پستان سرسیاه سحاب (همان: 50) By the right of the one who gives the children of Bostan (flowers) a white lion from the breast of the black head of Cloud (The same source, P. 50). In this article, attempts have been made to resolve the ambiguity of some verses of Khaghani's poems. Accordingly, the opinions of the commentators of the mentioned verses have been mentioned, and followed by that, the reasons for the inaccuracy or inadequacy of their opinions have been discussed. last but not least, by the assistance provided by the evidence from prose and verses of Persian literature and the evidence from Khaghani's own poetry, a more meticulous explanation has been provided, in this respect. Also, by using Ibn Battuta's travelogue, which is referred to as a descriptive text, the ambiguity of two consecutive verses about Hajar al-Asvad (black stone embedded in the house of the Kabe) has been resolved. Also, by correcting the reading of a verse that has become ambiguous due to the misreadings, we have tried to provide an acceptable meaning in this regard. Results and Discussion: In this article, it has been shown that it is necessary to pay attention to several points to understand the concept of Khaghani's poetry more precisely. Prior to anything, is the poet's unconventional word formations with the suffix "Setan". Secondly, the specific use of verbs is addressed. As an instance, the known verbs are used to convey the unknown meaning; including the verb "to kill" which the poet used to mean "to be killed". The third is to pay attention to alliteration and verbal proportions, which is highly desired by the poet, and with the help of this alliteration, the misreading of a verse is corrected. Last but not least, the fourth is to pay attention to the poet's special combinations and metaphors. In two consecutive verses, to get Khaghani's description of the Black Stone, Ibn-e Battuta's travelogue is referred to. In this article, composition of "Hadar raftan-e khun" (waste of blood) means to be killed, which is not found in Persian dictionaries. Conclusion: Khaqani's works are one of the most difficult Persian poems. The new method, which is used in the poem "Tarigh-e gharib" (strange way), has made it difficult to be similar to his poetry. Unlike the poetry of Sadi and Hafez, it is difficult for ordinary people to get connected with this type of poetry. Despite the valuable research that has been done in the analysis of Khaghani's poems, there are still many verses whose meaning has not been unraveled. In the current research, factors such as paying attention to Khaghani's special way of wording, his different way of using words, expressions and terms, using travelogue of Ibnu Batuta, the correct reading, incorrect or insufficient meanings presented for some verses have been have been taken into account in Khaghani poems to be revised and their semantic knots to be opened. قصاید خاقانی از دشوارترین و دیریاب‌ترین اشعار فارسی است و از دیرباز تاکنون شروح فراوانی بر آنها نوشته شده است. دربارة عوامل این دیریابی و آنچه موجب دشواری فهم دقیق اشعار او شده است، بسیار گفته شده و تلاش‌های فراوانی برای رفع این دشواری‌ها انجام گرفته است. با وجود این و علی‌رغم تلاش‌های ارزشمند شارحان و خاقانی‌پژوهان، همچنان گره برخی از ابیات قصاید خاقانی ناگشوده مانده است و معانی ارائه‌شده از سوی شارحان برای این ابیات، قانع‌کننده به نظر نمی‌رسد. بخشی از این ابهام‌ها مربوط به شیوة خاص خاقانی در ساختن واژه‌ها و ترکیب‌ها و برخی دیگر مربوط به شیوة خاص وی در به کار بردن واژه‌ها، فعل‌ها و عبارت‌ها و... است که طرزی غریب به وجود آورده است؛ اما ابهام برخی دیگر از ابیاتش، ناشی از خوانشِ نادرست آنهاست. در مقالة حاضر کوشیده‌ایم با کمک شواهدی از ادب فارسی و شعر خاقانی و در یک بیت استفاده‌شده در یکی از متون توصیفی موازی، ابهام برخی از ابیات قصاید وی را برطرف کنیم. بر این اساس به توضیح و تشریح چند بیت که با وجود توضیحات شارحان معنای آنها همچنان مبهم مانده است، می‌پردازیم. نیز با اصلاحِ خوانش یک بیت که از رهگذر بدخوانی دچار ابهام شده‌ است، می‌کوشیم معنای قابل‌قبولی برای آن ارائه کنیم.

https://motounadabi.razi.ac.ir/article_2884_27d44e27b8967666f20a724a15fe32d8.pdf

دانشگاه رازی پژوهشنامه متون ادبی دورۀ عراقی 2821-2371 4 4 2023 12 22 Education as obedience: Persian classical etiquettes and the tradition of question avoidance آموزش به مثابۀ تمکین: آداب‌نامه‌های کلاسیک فارسی و سنّت پرسش‌گریزی 19 47 2892 10.22126/ltip.2023.9814.1209 FA یحیی بزدوده دانشجوی دکتری زبان و ادبیات فارسی دانشکدۀ زبان و ادبیات، دانشگاه کردستان، سنندج، ایران. پارسا یعقوبی جنبه سرایی استاد گروه زبان و ادبیات فارسی، دانشکدۀ زبان و ادبیات، دانشگاه کردستان، سنندج، ایران. 0000-0001-6017-924X Journal Article 2023 11 07 Etiquettes have played a predominant role as educational texts among Iranians. The dominant method in these contents is one-sidedness and the inclusion of some pieces of advice for doing or prohibiting doing things. It is also noted not to be accompanied by rational reasoning, to a great extent. The concepts and topics contained in these texts are political and moral. Furthermore, they tend to use religious, mystical, and customary supports and, accordingly, the structure and necessity of social institutions, including the institution of education, are used as a model of instruction-suggestions with the listener/reader. To add up, the method of disseminating the mentioned knowledge with the repetition-reminding structure is based on the compliance strategywhich has usually suspended the principle of questioning and dialogue in educational interaction. In this article, the aspects of question avoidance and the reasons for its refusal are indicated and interpreted in five political-ethical etiquettes that appeared or were re-considred in the 5th to 7th centuries of AH. The results have indicated the author-narrators of the mentioned texts sometimes directly and explicitly invite the listener/reader to refrain from asking questions. Sometimes they have dealt with this matter indirectly by telling stories and planning punishment/encouragement discourse. The discursive order of the proposition/production anecdotes/prevalence of questioning in these texts is organized around the two elements of the nature of the subject and the position of the narrator, which seems authoritarian based on the vertical structure hidden in the theory of education. Of course, in explaining this authoritarianism and interpreting it as educational tyranny, one should think about it because there are other textual and extratextual implications that modify such a view. Introduction: Etiquettes are the repetition of common concepts which have come across changes with respect to the impact of dominant attitudes in different eras. These changes, however, are neither similar to the fundamental differentiations in specific eras, nor manifest the Ricoeur's classification. Thus, they cannot be counted as ethers. Despite that, Iranian ethics, in a way that some of those texts had been devoted to ethics in its ultimate form, act as a foundation for practical wisdom. Although etiquettes have theoretical weaknesses and a lack of a pedagogical framework, they are still educationally significant in nurturing a skillful, socialized, and professional workforce. The important point is the interpretation of the structures and the methods of spreading wisdom, their taking sides, and their reasoning towards education which is mainly based on obedience, not questioning. The present paper is an attempt to justify, classify, and interpret the aspects of question avoidance and its reasons in five dominant political-ethical etiquettes. These works are "Qaboosname", "Siyasatname", "Kimiyaye Saadat", "Kelile va Demne", and "Golestan". Materials and Methods: Philosophical ethics does not make use of literature as a means of reasoning while the etiquettes, by the use of literary narratives, encourage the reader to abandon doing specific things and partially carries the burden of an educational institution. Additionally, the educational institution in Islamic-Iranian culture is owned by masques in terms of atmosphere and space, which has become the prior traditional kind of school in the Islamic world and consequently, had become relatively dominant in the form of mosque- schools. Pedagogical circles are the most significant forms of the institute space that is indicated in forms of dictation and a Discussion about headings. Classifying knowledge to “Rewaya & Deraya” accompanies methods and devices, questions and controversies and negotiation and debate apart from memorization and dictation. It has to be pointed out that considered as understanding, “Deraya”, requires question, however, understanding needs to be known and the domain of its accurance should be specified socially, educationally, and culturally and, finally, the nature of the question upon which is formed. Moreover, the ultimate goal of mundane and spiritual redemption was to provide smaller framework(s) for education. To be precise, the touchstone which has distinguished the beneficial knowledge and determined rules of the acquired knowledges from obligatory to the prohibited ones. Changes like the closure of "Ejtehad" which was initiated from the second half of the 4th century and reached its peak in the 7th century, had significantly influenced the process of education in schools. From classes in mosques to general school classes, questioning and answering has always been an important part of a class. However, all class procedures, including questioning and answering, have been a pursuit of the teachers and class ethics. Non-affirmative and rhetorical ones serve a greater aim beyond finding the unknown. Astonishment, emphasis, sorrows, and denial in philosophy are, however, related to thinking and dialogue. Socrates integrated questioning to surpass the illusion of knowing and to discover the truth. Questioning in Descartes attempt for finding certain knowledge and plays a great role in forming doubt and being an explorer to find the answer. In Bakhitinian discourse, meaning is the result of sounds distinction and "questioning" is an outcome rather than a means of finding the answer. The ultimate goal of dialogue which is recollected by Gadamer is to question the interpretation of understanding and misunderstanding, since neither truth is what that is accomplished ultimately, nor is the modern enlightenment a way of reaching the truth. In Gadamer's view, teachers cannot pose a real question as they follow specific aims in training. This meant, for a question to be real, it should be open-ended rather than having a predetermined answer. Therefore, the framework of education which is trying to establish and accomplish wisdom is based on dialogue. Results and Discussion: Persian etiquettes, in the present paper, have marginalized or suspended questioning in two ways. A group of the exposures consider questioning directly and explicitly, contrary to the nature of education and learners' manners. The other groups, however, implicitly and by the use of metaphors, allegories, and images marginalize the notion of questioning. In the direct instances, explicit dos and don'ts can be observed and metaphorical images in allegories and stories work as a fundamental educational discourse. The mechanism of implicit complications in a text bears a discourse-like discipline in which meaning production occurs. In Foucault’s words, discourses hide their interactions in this process, however, they force multiple ways of thinking such as blued words in special ways and stop other blending and transfer theme. Following the same way, the tradition of question avoidance relying on the nature of the speech subject and the position of the narrator, makes the reader follow and refuses questioning. Conclusion: The producers/propagators of the theory of education in the Iranian classical world have tried to warn the listener/reader from any questioning based on the religious nature, the basic and moral class of the subject. They have also made an attempt to invite the listener or reader to obey by referring to the political-occupational, status/authority, Gender/age and emotionality of the narrator/educator. In such a discourse, the concept of boundaries and keeping discipline in its different forms including bottom -up (expressing individuating), the combination of two parallel incomgualies (eclectic), and an open domain (uncertainly in conclusion) have been considered as chaos or contamination, as well as a reason for annihilation. Although question in its philosophical sense means a penetration into the work or an obstacle on the way of certainly/confirmation, the ancestors have considered it as the chaos or the aliment leading to it. It has to be noted that the acceptance of these obedience has guaranteed their socio-cultural survival. Following this viewpoint, people were safe from the so called chaos like a simple give and take. To conclude, although the structure of the aforementioned interaction is hierarchical and authoritarian, it was a sort of logical interaction for the people of the era, while contemporary man notices desire more than needs. Desire and question are intertwined and the desirous subject considers salty and finding answers as natural rights, ponders on their individuality and tries to experience the incongruent experiences in which the boundaries overlap. Although the question avoidance structure of the ancestors' interaction does not look pleasing, they cannot be condemned of being totalitarian regarding their attempts in producing/distributing wisdom. آداب نامه ها، در میان ایرانیان به‌عنوان متون آموزشی ایفای نقش کرده اند. شیوۀ غالب در این محتواها، یک سویه و توصیه به انجام یا منع از انجام کارها است و عمدتاً همراه با استدلال عقلانی نیست. مفاهیم و موضوعات مندرج در این متون سیاسی-اخلاقی بوده و از پشتوانه های دینی، عرفانی و عرفی بهره می برند و بر مبنای آن‌ها ساختار و ضرورت نهادهای اجتماعی از جمله نهاد آموزش را در هیئت الگوی اندرز-پیشنهاد با شنونده/خواننده در میان می گذارند. به عبارتی دیگر، شیوۀ انتشار داناییِ مذکور با ساختار تکرار-یادآوری بر استراتژیِ تمکین استوار بوده، اصل پرسشگری و دیالوگ در تعامل آموزشی را معمولاً به تعلیق درآورده است. در این نوشتار وجوه پرسش گریزی و علل امتناع از آن در پنج آداب‌نامۀ سیاسی اخلاقیِ پدیده آمده یا بازخوانی شده در قرنهای پنجم تا هفتم هجری قمری دلالت یابی و تفسیر شده است. نتیجه نشان می دهد که مؤلف-راویان متون مذکور گاه با ذکر گزاره ها به‌صورت مستقیم و صریح شنونده/خواننده را به پرهیز از پرسش دعوت می کنند، گاهی هم به شکل غیرمستقیم با حکایت پردازی و طرح گفتمانِ تنبیه/تشویق به این امر پرداخته اند. نظم گفتمانی گزاره/حکایتهایِ تولید/رواج پرسشگریزی در این متنها بر مدار دو عنصر ماهیت موضوع و جایگاه راوی سامان یافته‌است که بنا به ساختار عمودی نهفته در تئوری آموزش، اقتدارگرایانه می نماید. البته در تبیین این اقتدارگرایی و تفسیر آن به استبداد آموزشی باید تأمل نمود؛ چراکه دلالتهای متنی و برون‌متنی دیگری وجود دارد که چنین نگاهی را تعدیل می‌کند.

https://motounadabi.razi.ac.ir/article_2892_deca142e9546f3dac4ec02e137ccc7d1.pdf

دانشگاه رازی پژوهشنامه متون ادبی دورۀ عراقی 2821-2371 4 4 2023 12 22 Reflection on the Meaning of a Metaphor Based on a Verse by Hafez تأملی در معنای یک کنایه با تکیه بر بیتی از حافظ 49 66 2981 10.22126/ltip.2024.9900.1212 FA نجمه دری دانشیار گروه زبان و ادبیات فارسی، دانشکده علوم انسانی، دانشگاه تربیت مدرس، تهران، ایران. Journal Article 2023 11 25 The currect research has mainly attempted to focus on the meaning of the phrase "tearing a garment/clothes/shirt in good reputation," which is explicitly mentioned in two verses of Hafez's Diwan. Despite being considered as ambiguous by the commnetators, attempts have been made to compare the related verses by examining the background of this phrase in the poetry of poets prior to Hafez and its presence up to date in the poetry of poets following him. Taking into account the multidimensional aspect of Hafez's thought, which is a distinct and sublime literary technique in poetry, he is the one who explored the various semantic aspects of this phrase. As Suggested by the author of this article, this phrase refers to the story of the tearing of the Prophet over Yusuf's shirt, which is also mentioned in the Qur'an. In this Qur'anic and mythological story, the way the shirt was torn serves as proof of Yusuf's innocence and good reputation. Furthermore, integrating amphibology brings about the garment tearing from joy in Sama and selflessness that is not related to having a good reputation, as well as the story of Yusuf's shirt. The existing and authentic descriptions of Hafez's poems and the references to Hafez's researchers have been thoroughly studied and analyzed in this research. The verses in question have been analyzed in a descriptive-analytical manner, relying on library studies. مسألۀ اصلی این پژوهش تأمل و تعمق در معنای عبارت «جامه/پیرهن/پیراهن‌دریدن در نیکنامی» است که در دو بیت از دیوان حافظ صراحتاً بدان اشاره شده است و شارحان اغلب آن را مبهم دانسته اند. در اینجا با بررسی پیشینۀ این عبارت در شعر شاعران پیش از حافظ و بررسی ادامۀ حضور آن در شعر سخنوران پس از وی، ابیات مرتبط را با هم تطبیق داده و با عنایت به ساحت چندبعدی اندیشۀ حافظ که شگرد ادبی بارز و متعالی در شعر اوست، به بررسی ابعاد مختلف معنایی این عبارت پرداخته‎ایم. به‌زعم ما، این عبارت به ماجرای دریده‌شدن پیراهن حضرت یوسف که در قرآن نیز آمده است اشاره دارد؛ چراکه در این داستان قرآنی و اساطیری نحوۀ دریده‌شدن پیراهن، برهان بی‏گناهی و نیکنامی یوسف بوده است. علاوه برآن ازآنجاکه با بهره ‏گیری از آرایۀ ایهام تناسب معنای دور و نزدیک هم‎زمان موردتوجه بوده است، جامه‌دریدن از شوق در سماع و بی‏خودی نیز در کنار پیراهن یوسف به ذهن متبادر می‏شود که ارتباط مستقیم با قید نیکنامی ندارد. شرح‏های موجود و معتبر از اشعار حافظ و اشارات حافظ‎پژوهان در این پژوهش و در ذیل ابیات موردنظر مطالعه و بررسی شده‏ اند و نتایج حاصل به شیوه توصیفی- تحلیلی و برمبنای مطالعات کتابخانه‏ای مورد نقد و تحلیل قرار گرفته است.

https://motounadabi.razi.ac.ir/article_2981_be25cc2189da693b348d91c2f2c472b6.pdf

دانشگاه رازی پژوهشنامه متون ادبی دورۀ عراقی 2821-2371 4 4 2023 12 22 Examination of imaginary images in Najmuddin Razi's treatise on the Treatise on ESHQ o AQL بررسی صور خیال در رسالة عشق و عقل نجم‌الدین رازی 67 90 2885 10.22126/ltip.2023.9512.1178 FA الهام رضوانی مقدم دکتری تصوف و عرفان اسلامی، مدرس دانشگاه، گروه ادیان و عرفان، دانشکده علوم انسانی، دانشگاه سمنان، سمنان، ایران Journal Article 2023 08 22 One of the beautiful and captivating aspects of mystical literature is the image. In image rhetoric, images that are formed in the imagination are used to express sensible and intangible concepts and can be achieved through rhetorical forms (simile, metaphor, allegory, etc.). Imagination is one of the most important tools in the formation of purgatory images between the physical world and the spiritual world, which is called the ideal world. In the field of photography, the creative mind of Najm Razi has been able to mix images of imagination and inspiration with the eloquence of words in a way that reveals esoteric and mystical states in the form of combinations of rhetorical forms. In this article, an attempt has been made to investigate the images of fantasy in Razi's message of love and wisdom, using a descriptive-analytical method and a library method, in order to highlight the place and importance of rhetorical tools that are effective in understanding sensible and intangible meanings in the world of the senses. . Najm Razi's goal of using imaginary images is to instill the truth behind these images in order to convey his purpose to the audience. The findings of this research show that Najmuddin Razi used more of the rhetorical element of simile and simile addition in this work, which are often sensible to tangible similes. These types of images have a significant variety and have the highest frequency of rhetorical forms. He used more of nature and objects in the creative elements of imagination so that he could have a better explanation of the truths of the world; therefore, each image expresses a truth in different levels. Introduction: In Persian language, the word “khiyal” is considered identical to image. This is due to the fact that imagination comes with the meaning of shadow, image, fearsome, ghost, etc. (Fotouhi, 2015: 39). Hhaving established that image or imagination is the main element in the essence of poetry and is a return to image, De Lewis, in his book, declares that it is characteristic of image or imagination: "In its simplest form, it is "image" that helps creating words. Precisely, a description or adjective, a metaphor, or a simile may create an image" (Lewis. 1958: 18). The subject of image (in the sense of image) was initially raised by Shafi'i Kadkani in his book “Sovare Khiyal” in Persian Poetry and this notion has been discussed with special precision and tact in Persian poetry from the theoretical and practical aspects. In the most general sense, the image refers to the entire virtual language; That is, that part of the creative and artistic uses of language that comes about through imagination in ordinary language (Fotouhi, 2015: 41). Image, in its ordinary use, is referred to as "any imaginary possession in language" (ibid.: 44). From Persian poets and mystics, countless works of prose and verse have been published, and the authors of these great works have made all their efforts to depict the true meanings of the world. However, the language that has been engaged to express these images was almost based on virtual functions that can be understood merely through imagination and virtual images. It is also noteworthy that there is a long distance between the power of imagination and the imaginary world since imagination can be considered similar to something like image, considering the fact that illusion is also involved in it. One of these characters, Sheikh Najmuddin Razi, is one of the mystics of the 7th century who has used imaginary images and other probable rhetorical devices (simile, metaphor, and irony) in his works. The aim of the present study is to express the most important rhetorical figures in Najmuddin Razi's message of love and reason, and we have tried to extract the frequency of rhetorical figures used in this book and seek to analyze and analyze them. We are also looking to analyze why Najm Razi used these rhetorical figures and its connection with his mystical worldview. Materials and Methods: This article has attempted to investigate the images of fantasy in Razi's message of love and intellect via integrating a descriptive-analytical method and a library method so as to find out the place and importance of rhetorical tools that are effective in understanding sensible and intangible meanings in the world of the senses. Also highlighted, is Najm Razi's goal of using images to instill the truth behind these images with the aim of conveying his purpose to the audience. Results and Discussion: Among the elements of imagery, the most prominent in the message of love and reason is the rhetorical form of simile. Simile can be considered as one of the simplest elements of imagery to explain words. Most of these similes are sensible to tangible similes, in such a way that a sensible thing, which is an esoteric and mystical concept, is placed in front of a tangible thing, and in this way, Najm Razi seeks to explain his thoughts objectively and to make those thoughts tangible. Undoubtedly, imagination is one of the most important elements of image formation. The world of imagination is the widest world; Because everything that has the ability to exist and exist, is provided by the will of man to the extent that it includes all tangible and intangible things. Imagination world is a world that leads a person from the lower world to the upper world. In other words, what makes intangible things intelligible and close to perception is imagination. Mystical poetic and prose texts have always tried to convey the true meanings of the world to the audience through words; But the language they have used to express meanings is a figurative language that can be understood through imaginary images. In examining the images of imagination in the message of love and reason, each image brings us to a meaning; Therefore, the language in the words of this mystic is alive and dynamic. Najmuddin Razi's purpose of using imaginary images is not for the beauty of the text; Rather, he benefits from a truth that he cannot find a way to instill in the audience, except through imaginary images and rhetorical devices. For him, these images go beyond analogical structures and are actually the same truth that manifests on him, and he uses us to understand and understand the content in exchange for a special property to reach his goal. Conclusion: The imagery and rhetoric of the image, in Persian verse and prose literature, is referred to as a technique to convey the concepts and themes desired by the poet or mystic. In different ages, according to the literary requirements governing the usual tradition, the use of images is favored or disfavored. From the 6th century of Hijri onwards, and with the emergence of great figures such as Sanai, Rozbahan Baqli, Ain al-Qozaat Hamedani, Ibn Arabi, etc., more attention has been paid to mystical imagery. They use images to express sensible and intangible topics and concepts. The origin of the formation of part of the rhetorical forms is imagination. The wide and wide world of imagination gives the mystic the possibility to create novel, new and even unbelievable images without restrictions. For mystics, the world of imagination has a function beyond similes and metaphors, and allows the audience to pass from the world of multiplicity to unity and reach the truth. Najmuddin Razi is one of the mystics who, while using these rhetorical forms, was able to increase the beauty of expression and meanings of his works by creating novel themes. Among the visual elements and tools that are seen more than any other element in the message of love and reason, is simile and simile addition. The simile can be considered as the simplest tool of the creator to describe and express the words, the author arranged the words in an original way, and this, in addition to the prominence and beauty of the words and text, has also been effective in the reader's understanding of the words. Most of Najm Razi's similes are sensible to tangible; In other words, a reasonable matter, which is generally a mystical and esoteric concept, has been placed in front of a tangible matter and has caused it to be understood more and better. One of the types of similes used by Najm Razi in this treatise is a metaphorical simile or Quranic simile. This type of simile is sensible to tangible, and in addition to the use of the word of truth, it also causes spiritual pleasure and understanding of the artistic persuasion of the audience's mind. The rhetorical forms of metaphor and irony are less used in the message of love and reason than other rhetorical forms, and this indicates transparency in the speech and avoidance of veiled speech and in the envelope of the author's speech. Most of the imaginary images in this book are taken from tangible things and nature. The most frequent words are water, sky, mirror, butterfly, string, earth, candle, desert, ship, etc. یکی از جنبه‌های زیبایی و گیرایی ادبیات عرفانی، تصویر است. در بلاغت تصویر برای بیان مفاهیم معقول و نامحسوس بیشتر از تصاویری بهره گرفته می‌شود که در خیال شکل می‌گیرد و از رهگذر صور بلاغی (تشبیه، استعاره، تمثیل و...) می‌توان به آن دست یافت. خیال ‌ــ‌یکی از مهم‌ترین ابزارها در شکل‎‌گیری صور‌ــ برزخی میان عالم جسمانی و عالم روحانی است که به آن عالم مثال گفته می‌شود. ذهن خلّاق نجم رازی در زمینه صورتگری توانسته است صور خیال و الهام را با شیوایی کلام به نحوی درهم آمیزد که حالات باطنی و عرفانی را در قالب ترکیبات صور بلاغی نمایان سازد. در این مقاله، کوشش شده است تا به شیوۀ توصیفی‌ـ‌تحلیلی و روش کتابخانه‌ای به بررسی صور خیال در رسالة عشق و عقل رازی پرداخته شود تا از این طریق جایگاه و اهمیت ابزارهای بلاغی که در تفهیم معانی معقول و نامحسوس در عالم محسوسات کارآمد است، برجسته شود. هدف نجم رازی از به‌کارگیری صور خیال، القای حقیقتی است که در پسِ این صور قرار گرفته تا مقصود خود را به مخاطب برساند. یافته‌های این پژوهش نشان می‌دهد نجم‌الدین رازی در این اثر، بیشتر از عنصر بلاغی تشبیه و اضافة تشبیهی بهره برده که اغلب از نوع تشبیهات معقول به محسوس است. این نوع تصاویر از تنوع چشمگیری برخوردارند و بیشترین بسامد صور بلاغی را به خود اختصاص داده‌اند. وی در عناصر سازندۀ خیال، بیشتر از طبیعت و اشیاء بهره برده تا بتواند تبیین بهتری از حقایق عالم داشته باشد؛ بنابراین هر تصویر بیانگر یک حقیقت در مراتب مختلف است.

https://motounadabi.razi.ac.ir/article_2885_8946d5412e4c30edd3dd47561dee9f38.pdf

دانشگاه رازی پژوهشنامه متون ادبی دورۀ عراقی 2821-2371 4 4 2023 12 22 A Comparative Analysis of the Essence and Attributes of God in Masnavi-e-Ma'navi and Dao-de-Jing تحلیل تطبیقی ذات و صفات خدا در مثنوی معنوی و دائودِه‌جینگ 91 115 2805 10.22126/ltip.2023.9644.1196 FA احسان زندی طلب دانشجوی دکتری زبان و ادبیات فارسی، گروه زبان و ادبیات فارسی، دانشکده ادبیات و علوم انسانی، دانشگاه رازی، کرمانشاه، ایران. 0009-0005-4150-1105 خلیل بیگ زاده دانشیار زبان و ادبیات فارسی، گروه زبان و ادبیات فارسی، دانشکده ادبیات و علوم انسانی، دانشگاه رازی، کرمانشاه ، ایران. 0000-0003-0637-4700 ابراهیم رحیمی زنگنه دانشیار زبان و ادبیات فارسی، گروه زبان و ادبیات فارسی، دانشکده ادبیات و علوم انسانی، دانشگاه رازی، کرمانشاه. Journal Article 2023 09 21 The matter of explaining the essence and attributes of God in Islamic mysticism has been influenced by Quranic tradition that is the criterion based on which the mystics have categorized the essence, attributes, and actions of God. Rumi, in Masnavi-e-Ma'navi, being referred to as the most prominent mystical work in Persian language, has been engaged with this subject with precision and delicacy, and, also, has broached the unknown nature of God. Likewise, Laozi, the Chinese sage, in Dao-de-jing, the most predominant text of the Dao tradition that was written in the eighteen century before Masnavi-e-Ma'navi, has raised major and delicate discussions on the unknowability of the essence of Dao. Accordingly, the present paper is an attempt to represent and investigate the findings concerning God's essence and attributes in Masnavi-e-Ma'navi and Dao-de-jing. Furthermore, it also aims at explaining the similarities and differences between them via integrating the descriptive-analytical method. As depicted by the results of the study, the true essence of God in Masnavi-e-Ma'navi and that of Dao in Dao-de-jing is elusive and unknowable. However, God's attributes in Masnavi-e-Ma'navi are more numerous than those of Dao in Dao-de-jing. This is justifiable via the reference to nomenclature in Islamic mysticism and mystical interpretations of God's names. Also, even though, some attributes of Dao, such as profoundness, silence, and formlessness, do not have known equivalents in Islamic mysticism, they are used as attributes of God in Masnavi-e-Ma'navi. Introduction: The concepts of God’s essence and attributes are referred to as common terminologies in Islamic philosophy and theology and have entered the field of mysticism and multiple examples of such type have been manifested in many verses of "Masnavi-e Ma'navi", as a significant work of Islamic mysticism. The formation of these terms dates back to Qur'an and Islamic tradition and the emergence of various philosophical-theological movements. It may seem far-fetched to evaluate the mystical grasp of Masnavi-e-Ma'navi on God's essence and attributes with the understanding of "Laozi", the founder of Daoism. However, despite the approximate time gap of eighteen centuries between the publication of Masnavi-e Ma'navi and that of Dao-de-jing, and the different geographical conditions in which they were formed, as well as the different cultural and intellectual environments of Rumi and Laozi, it is possible to perceive their similar and sometimes identical epistemological approaches to the concepts of God’s essence and attributes and show their common theological and ontological mindsets in explaining and understanding these concepts. Materials and Methods: God's essence in Masnavi-ye-Ma'navi and Dao-de-jing In alignment with the prophetic tradition (hadith), Rumi considers thinking about God's essence as reprehensible and misleading, as there is no way to know God's essence. Not only is this not a means of knowledge in this realm, but also an obstacle and a veil. The idea of comprehending God's true essence is delusional, and any effort made with that ambition is to no avail. Rumi believes the observable world is rendered on the foundation of contrast, and each thing is a door to knowing other things, and basically, knowledge is the result of perceiving this contrast. Since there is no contrast in God's essence, human intellect has no way of knowing it. Likewise, in Laozi's mind, Dao is the best way of referring to a truth, and naming an essence that is totally unpresentable and nameless. Otherwise, it would not be what he has in mind. He calls this indescribable, unknowable truth Dao, due to the necessity of linguistic formation of the problem, but he immediately states that because that truth is now expressed in the form of words, it is no longer the truth before naming it. Results and Discussion: God's attributes in Masnavi-e Ma'navi and Dao-de-jing With respect to Rumi's mindset, after the level of essence, without a reference to any hierarchy in time and space, there lies the attributes and names of god, and the entire world and countless creatures are the manifestation of God's infinite attributes. In the first hymn of Dao-de-jing, Laozi establishes a theology based on the essence and attributes of Dao, which includes the levels of the occult, the nameless (non-existent), the named (existent), and all beings in the world. All of these levels, except for the occult level, lie within the realm of human reason, knowledge, and inquiry. Also, the names of God in Islamic mysticism are divided into two categories of positive and negative attributes. positive attributes include God's unquestionable names, and negative attributes include names that God is free from. Positive names These names can be divided into three parts. The names of essence include: Lord (Rab), First (awal) and Last (akhar), appearance (zaher) and substance (baten), great (azim), immortal (baghi), and light (noor). The names of attributes include: merciful (rahim) and the agentive names, creator (khaleq), lowerer (khafid), exalter (rafi), and hearkener (mujib). In the category of the names of essence, although the name "deep", which is one of the attributes of Dao, does not have a specific and well-known equivalent in Islamic mysticism, it is used as the name of God in Masnavi-eMa'navi. Leave the part and embrace the whole These streams all stem from a deep ocean negative names Although it is possible to attribute some of God's positive names to human beings or other creatures at a lower level, a number of negative attributes that indicate God's lack of some attributes, are unique to God, and no human being shares them with God. Names such as incorporeal, unborn, invisible, one-and-only, and faceless. In this category, silence, which is one of the attributes of Dao, does not have a specific equivalent in Islamic mysticism. However, it is used for God in the Masnavi-e Ma'navi. God's appeal, with no cause and effect hundred words he say, with no lips and mouth. Conclusion: The assessment of the concepts of God's essence and attributes in Masnavi-e Ma'navi and Dao-de-jing shows that Rumi and Laozi, despite their great distance in time and space and the sharp differences that existed in the intellectual and spiritual traditions of their time, had nearly similar approaches to these concepts, and established more or less the same theological foundations. Also, the unknowability of God and Dao's essence is emphasized in both works by suggesting that there is no opposition and contrast in their essence; however, in the field of positive attributes, we see names in Masnavi-e Ma'navi that have no equivalent in Dao-de-jing. It seems that one of the causes of this discrepancy is the importance and breadth of the nomenclature and the inexhaustibility of God's names in Islamic mysticism and Masnavi-e Ma'navi; a topic that is not so prominent, at least to that extent, in Dao-de-jing. What confirms this conjecture is, in addition to the quantity, the quality of nouns, which includes all three types of proper noun, attribute, and agentive, has no equivalent. Another issue that compounds this dispute is the contemplation of Islamic thinkers on the subject of names and attributes, which has provided the basis for various interpretations and has added to the complexity of identifying these names, which sometimes have similar meanings. It is also worth mentioning that, even though not all of it is dedicated to the discussion of God's essence and attributes, the sheer volume of Masnavi-ye-Ma'navi, compared with the very compressed text of Dao-de-jing, has provided Rumi with more opportunities to discuss this topic. However, it should be made clear that many of the important and fundamental names and attributes of God in the Masnavi-ye-Ma'navi have similar or identical equivalents in Dao-de-jin, that is sometimes surprising. موضوع تبیین ذات و صفات خدا در عرفان اسلامی متأثر از سنّت قرآنی است که عارفان اسماء ذات، صفات و افعال خدا را به تأسی از آن تبیین و طبقه‌بندی کرده‌اند و مولوی در مثنوی معنوی به‌عنوان برجسته‌ترین اثر عرفانی در زبان فارسی با دقّت و ظرافت بدان پرداخته و ناشناختگی ذات خدا را آورده است. هم‌چنین لائودزی، حکیم چینی در دائودِه‌جینگ، مهم‌ترین متن آیین دائو که هجده سده پیش از مثنوی معنوی نوشته شده، مباحثی عمده و باریک‌بینانه در شناخت‌ناپذیری ذات دائو مطرح کرده ‌است. هدف این جستار بازنمایی و تحلیل یافته‌های ذات و صفات خدا در مثنوی معنوی و دائودِه‌جینگ و تبیین همسانی و ناهمسانی آن‌هاست که با روش توصیفی- تحلیلی سامان یافته ‌است؛ چنانکه دستاوردهای پژوهش نشان می‌دهد، حقیقت ذات خدا در مثنوی معنوی و دائو در دائودِه‌جینگ ذهن‌گریز و شناخت‌ناپذیر است، امّا صفات خدا در مثنوی معنوی بسیار پرشمارتر از صفات دائو در دائودِه‌جینگ است که این موضوع نظر به گستردگی اسم‌شناسی در عرفان اسلامی و تفسیرهای عرفانی از اسماء خدا قابل توجیه است. هم‌چنین برخی صفات دائو مانند ژرف‌بودن، بی‌صدایی و بی‌صورتی اگرچه فاقد معادل شناخته در عرفان اسلامی هستند، امّا در مثنوی معنوی به مثابة صفات خدا به کار رفته‌اند.

https://motounadabi.razi.ac.ir/article_2805_24653c390c045904be075daad60e5a6b.pdf

دانشگاه رازی پژوهشنامه متون ادبی دورۀ عراقی 2821-2371 4 4 2023 12 22 Literary and linguistic satires in Hafez's poems طنزهای ادبی و زبانی در اشعار حافظ 117 144 2883 10.22126/ltip.2023.2883 FA قهرمان شیری استاد، گروه زبان و ادبیات فارسی، دانشکده ادبیات و علوم انسانی، دانشگاه بوعلی سینا، همدان، ایران. 0000-0002-4711-4713 Journal Article 2023 02 03 A quantity of innovations in Hafez's poems have apparently carried the same features that exist in the poems of a number of other poets. However, since Hafez integrates such characteristics through concentration and decisiveness, strength and richness, and a brief and accumulated volume, their manifestation and glory in his poems is a revelation of more brilliance. It is on this basis that it can be said that the most literary poetic verses and the most meaningful linguistic statements, as well as the most artistic literary, situational, linguistic and even dramatic satires, should be found in Hafez's poems. Hafez's sensitivity to the behavior of political and cultural figures has made him fascinated by situational humor. The attraction of this interest has caused some of the literary satires to be used by him due to the double literary-situational function. Some types of literary humor that are the representation of situational humor include: parables and similes, metaphors and symbols, descriptions and adjectives, exaggeration and hyperbole, and even a part of amphiboly and taxis. Introduction: The chaotic situation of Hafez's era is comparable to the collapse of the Ilkhanate and the empowerment of local governments in different cities of Iran, including Fars and Isfahan, Yazd and Kerman, and the constant conflicts between them. The connection of these events with the uprising of "Timur Gorkani" and the beginning of his conquests, a very shaky and unstable market chaos dominates the livelihood, social and political situation of Iranian cities. This chaotic situation should be placed next to the efforts that aim to combat the dispersion and displacement of people and their thought, culture and literature in the patriarchal era and gather them in some city centers. It is the reflection of this situation that has shown its objective appearance in Hafez's poetry in the form of protest, criticism, satire, metaphor, and dispersal, and the combination of different cultures and subcultures, and thematic diversity and semantic interpretation. It is from this point of view that the statement of Professor Shamisa which declares; "Hafez's poetry is mystical and romantic on the horizontal axis, but on the vertical axis, it is praise and refers to a historical event" seems to be somewhat true (Shamisa, 1997: 16). Four types of music are predominant in Hafez's poetry: external music with the most pleasant weights, side music with the best rhymes and avoiding nominal rhymes and long lines, internal music with all kinds of phonetic harmonies that Hafez is the undisputed master of, and Spiritual music by choosing expressions close to spoken language and synonyms and antonyms and nationalities and types of special uses of language that naturally make the language musical. A major part of Hafez's efforts in improving the quality of words is spent on choosing and arranging words in the best possible ways to achieve different types of poetic songs. The other part is digging into the network of semantic connections between words and discovering the best meaningful lexical fits and using two / three-meaning metaphors and multi-meaning metaphors in some appropriate situations, and most importantly bringing some of the allusive, historical, mythological and natural metaphors closer to symbols. which have a lot of interpretability, in such a way that it does not cause a disturbance in the transmission of concepts. Hafez is always obsessively careful that his sensitivity to the nature, form, and structure of words and propositions never distracts him from the content and intellectual content. Because, according to Masoud Khayyam, he is "the king of form and meaning". Based on this, if we judge about Shaar Hafez based on Jacobson's communication theory, in addition to giving centrality to the language itself, he also gives great importance to the subject and the audience, and as if the formalists' sensitivities to the form, and the romanticists' sensitivities to the speaker, and It advances phenomenologists to the audience and Marxists to the content in parallel with each other; It means a combination of literary, emotional, persuasive and sympathetic role in verbal communication. Part of the surprise and humor in Hafez's speech is also a product of this kind of miraculous speech, which has various aspects of a complete and perfect speech, and there is no deficiency in it in terms of language, literature, and content. Everything that is at the peak of perfection is stunning, surprising, and admirable; and disturbing the balance in situations. And the lack of balance, and the creation of conflict, are among the rules that create situational humor. Sometimes too much simplicity causes astonishment and surprise; Like when the weight of his poems is like flowing water and it follows the structure of natural sentences in the language It wouldn’t be considered as an exaggeration if it is claimed that the most artistic literary satires should be found in Hafez's poems. Followed by that, the most artistic Persian poems are in Hafez's court. From time to time, he makes use of multiple literary arts to make a claim, which can rarely be found in other poets. The compatibility of Solomon, the government and the wind, and the allusion to the story of Solomon, and the likeness of himself to Solomon, and then, the ironic and humorous use of the relationship between Solomon and the wind in the sense of being empty-handed and deprived of a lover. And the contrast between becoming Solomon from the power of love and holding the wind because of separation. Furthermore, the sonnet: "O holy witness who wears your veil", has several humorous verses such as those related to the attribution of drunkenness to wine; consideration of the lover's smile as a right decision, not hearing moans and screams due to the loudness of the beloved, head of water and mirage, and being spoiled by blame. The sonnet saying; "in order to make my life weak", carries a dramatic, narrative, and metaphorical humor, due to the fact that it has presented a kind of cartoon movie about the relationship between flowers. From this sonnet, some verses which carry the meaning of delay, and the semantic connection of the second and first stanza being done by intermediaries, the technique of semantic delay and multiplicity of meanings in Hafez's poetry can be reached. Precisely, it leaves the audience's open and provides them with the freedom of having multiple interpretations of the verse concept. The verse "To a charisma that Narcissus sold himself / He deceived your eyes and caused a hundred temptations in the world", which attributes "self-dealing" to Narcissus is firstly providing a humorous claim and secondly, the connection of the lover's eyes that is apparently likened to Narcissus's hangover. This is basically ironic, because it says that you are more self-dealing than Narcissus. The stanza; "The water threw a fire on you in purple", has a paradox bearing in mind that he has considered water to be incendiary and that water is, of course, the sweat caused by drinking wine, which apparently causes heat and irritation in the face. It is the heat that ignites nature's fiery flower (e.g. purple), and with this claim, it involves an exaggeration that becomes a source of humor and being humorous. In this sonnet, the behavior of Banafsheh, Saba, and Seman, who show human movements, is similar to dramatic stories, and its visualization causes humor. In the following, the expression: "Washing clothes with the water of Lal's water" is a type of inversion, and the attribution of this action to the fate and destiny of the eternal, has caused laughter and humor in the verse. بخشی از نوآوری‌های موجود در اشعار حافظ در ظاهر همان ویژگی‌هایی است که در اشعار برخی از شاعران دیگر نیز وجود دارد، اما چون حافظ این خصوصیات را با غلظت و قاطعیت، قوت و غنا و حجمی متراکم و مختصر به‌کار می‌گیرد، جلوه و جلال آن‌ها در اشعار او از درخشش بیش‌تری برخوردار است. بر این اساس است که می‌توان گفت ادبی‌ترین ابیات شعری و پرمعناترین گزاره‌های زبانی و نیز هنرمندانه‌ترین طنزهای ادبی و موقعیتی و زبانی و حتی نمایشی را باید در دیوان حافظ جستجو کرد. حساسیت حافظ به رفتار شخصیت‌های سیاسی و فرهنگی، او را مجذوب طنزهای موقعیتی کرده است. جاذبه‌های این علاقه باعث شده است که پاره‌ای از طنزهای ادبی نیز به‌دلیل کارکرد دوگانۀ ادبی – موقعیتی به‌وسیلۀ او به‌کار گرفته شوند. برخی از انواع طنزهای ادبی که گاه جنبه‌هایی از طنز موقعیتی نیز در آن‌ها وجود دارد عبارت‌اند از: تمثیل‌ها و تشبیهات، استعاره‌ها و نمادها، توصیف‌ها و صفت‌ها، اغراق و مبالغه و حتی پاره‌ای از ایهام‌های تناسب.

https://motounadabi.razi.ac.ir/article_2883_9f1edbb98203ba541ff51e398c516357.pdf

دانشگاه رازی پژوهشنامه متون ادبی دورۀ عراقی 2821-2371 4 4 2023 12 22 Psychological investigation of Bahram Gur (in the stories of the treacherous minister and fetneh) based on the theory of Eric Berne بررسی روان‌شناختی شخصیت بهرام گور (در داستان‌های وزیر خائن و فتنه) بر اساس نظریۀ اریک برن 145 164 3013 10.22126/ltip.2024.9700.1204 FA محمد کریمی دانشجوی دکتری زبان و ادبیات فارسی، واحد سنندج، دانشگاه آزاد اسلامی، سنندج، ایران. 0000-0002-9080-2095 رضا برزویی استادیار گروه زبان و ادبیات فارسی، واحد سنندج، دانشگاه آزاد اسلامی، سنندج، ایران. 0000-0001-6520-9225 عطا شاکریان استادیار گروه مشاوره، واحد سنندج، دانشگاه آزاد اسلامی، سنندج، ایران. 0000-0003-1712-6745 Journal Article 2023 10 18 Eric Burn's theory of mutual behavior analysis provides an image of the psychological structure of personalities in alignment with the communication between people and their internal relationships. By the assistance of this practical theory and considering the deep connection between literature and psychology, it is possible to analyze the characters of the stories of ancient Persian literary texts. Examining these texts based on psychological theories can be the subject of many interdisciplinary researches. Researches like this show the capacity and capabilities of ancient literary texts. Eric Berne's model of mutual behavior analysis is based on the emotional states of "I" (child, parent, and adult). In this essay, the authors have studied the character of Bahram Gur in Ganjavi's Haft Pykar Nezami system in a descriptive-analytical way and using library sources, according to the key concepts (my moods, caresses, mental games, and the chain of relationships). The findings show that Bahram Gur has a dynamic personality and is in the state of "child" with the predominance of "adult" who grows and reaches perfection in the course of life and the process of events. In this system, verbal caresses have a higher frequency than other caresses. Bahram Gur is mostly present in the role of a savior in psychological games, and in the chain of mutual relationships, his connections in the Haft Gonbad and the visit of the Haft Mazloum are complementary and parallel. Introduction: Eric Berne's theory of interactional behavior analysis is a type of personality psychology in which different aspects of a personality are examined. This theory provides a picture of the psychological structure of the characters based on the observation and evaluation of the patient's behavior and his interaction with others and based on his emotional states (child, parent, and adult) and considering the connections between people and their internal relationships. In the eyes of Eric Berne, each of my states is an emotional system that carries with it a pattern of thought and behavior. The balance and interaction of these states with each other means; Mental health. This behavior model aims to strengthen the positive parts of behavior and personality and remove the negative parts. Precisely, whenever one of these three dimensions dominates the other parts and does not let them play their role, psychological damage occurs. Eric Berne uses the method of three circles to represent my emotional states and in 1956 via publishing two articles. He comes across introducing this new approach in psychotherapy. The interactive behavior analysis model can be used as an applied theory in the analysis of human behavior in clinical, therapeutic, organizational, developmental psychology, communication, management, personality, relationships and behavior. With the help of this practical theory and considering the deep connection between literature and psychology, it is possible to analyze the characters of the stories in the ancient texts of Persian literature. It can be eye-catchingly observed that that there is a close and two-way relationship between the knowledge of literature and the science of psychology. On the one hand, it is the mental capacity of the writer and the songwriter that one can understand his way of thinking and understand his works better, and on the other hand, the literary work creates a psychological balance in the reader and makes him enjoy the text and the reason for the progress and excellence of thought, as well as leading to the growth of society. So, with a psychological look at ancient Persian literary texts, we can gain a better understanding of them. Materials and Methods: The applied method to be integrated is the descriptive-analytical, which is based on the analysis method of results obtained from library studies by collecting information from the analysis method. According to the steps, identifying sources and documents related to the subject, studying, extracting and collecting the required information should be considered. The classification of the sheets and the obtained information, the examination of psychological terms based on the theory of Eric Berne, the analysis, description, interpretation and explanation of the findings, by mentioning the evidence of Nezami-y-Ganjavi's poems and the conclusion, have been done. Results and Discussion: Critics consider it important to pay attention to the science of psychology in the deep understanding of literary works because the power of imagination and the inner states and emotional states of parents, children and adults (thoughts, feelings and behavior) of the writer or poet have a direct and indirect impact on his works. Examining the characters of Ganjavi's military stories from a psychological point of view (Eric Burn's behavioral model of interactional behavior analysis) is a new and innovative topic that can be the subject of many interdisciplinary researches. Reviewing literary texts based on psychological theories is a type of interdisciplinary studies that will increase the scientific ability of researchers, professors and students. Conducting this type of interdisciplinary research will make these sciences more practical. Examining these stories from the perspective of psychology reveals another facet of these works, and introducing the personality dimensions of the heroes of the stories to the readers makes them replace negative and destructive relationships with healthy and constructive ones.The purpose of this essay is to examine "Bahram Gur's character" and show his personality evolution in the stories of the treacherous minister and Fetneh from Haft Pykar Nezami-y-Ganjavi. The authors interpret and analyze the mutual behaviors of the characters of these stories according to the key concepts (my moods, caresses, psychological games, and the chain of relationships) and introduce the reader to their inner characteristics and ask for two questions. First and foremost, Eric's theory of mutual behavior analysis Byrne, which addresses the extent to which the transformation of Bahram Gur's character in the stories of the treacherous minister and Fetneh can be shown. Followed by that, is questioning the outward behavior of Bahram Gur and each of these characters to be rooted in any of the mental and psychological characteristics and sensual states of their parents, children or adults. Conclusion: The findings show that the character of Bahram Gur is in the natural and adapted emotional state of a child at the beginning of the Fetneh story, and at the end of the story he is in an adult state. The general nature of Bahram's character in these stories is a child dominated by an adult, who grows and reaches perfection in the course of life and events. As Bahram Gur seeks social status, he organizes caresses with the aim of gaining power. In this system, verbal caresses have a higher frequency than other caresses. He plays in all three roles of victim, savior and oppressor in psychological games, and of course he appears mostly in the role of savior and in the chain of mutual relations, conversations between Bahram and the Iranians and their correspondence and Bahram's communication after seeing the maid in the colonel's house. It is a kind of complementary and parallel relationships, and the mutual relationships at the beginning of the story of Fetneh and Bahram and the relationship between Bahram and Khaqan Chin are of a cross type. In general, the effect of domination is parallel and complementary to relationships, and no angular relationship was seen in the relationships between Bahram and other characters. Bahram's character, in this work, gets closer to evolution and prosperity step by step until he knows his inner and existential capabilities and this knowledge leads to his survival in the minds. نظریۀ تحلیل رفتار متقابل اریک برن، با توجه به ارتباطات میان انسان‌ها و روابط درونی آن‌ها تصویری از ساختار روانی شخصیت‌ها ارائه می‌کند. با کمک این نظریۀ کاربردی و با توجه به ارتباط عمیق میان ادبیات و روان‌شناسی، می‌توان به تجزیه‌وتحلیل شخصیتهای داستانهای متون کهن ادب فارسی پرداخت. بررسی این متون بر اساس نظریه‌های روان‌شناسی، می‌‌تواند دست‌مایۀ بسیاری از پژوهش‌های میان‌رشته‌ای باشد. مدل تحلیل رفتار متقابل اریک برن، بر پایۀ حالات نفسانی من (کودک، والد و بالغ) بنا شده‌است. نگارندگان در این جستار، با توجه به مفاهیم کلیدی (حالات من؛ نوازش‌ها، بازی‌های روانی و زنجیرۀ روابط) به شیوه توصیفی‌ـ‌تحلیلی و با استفاده از منابع کتابخانه‌ای به بررسی شخصیت بهرام گور، در منظومۀ هفت‌پیکر نظامی گنجوی پرداخته‌اند. یافته‌ها نشان می‌دهد که شخصیت بهرام گور در وضعیت کودک با غلبۀ بالغ است که در مسیر زندگی و روند حوادث رشد می‌کند و به کمال می‌رسد. در این منظومه نوازش‌های کلامی از دیگر نوازش‌ها بسامد بالاتری دارند. بهرام گور در بازی‌های روانی بیشتر در نقش ناجی حضور می‌یابد و در زنجیرۀ روابط متقابل، ارتباطات او در هفت‌گنبد و دیدار هفت مظلوم از نوع مکمل و موازی است.

https://motounadabi.razi.ac.ir/article_3013_b8cad85cfc7e613ee3700217bf50cab1.pdf

دانشگاه رازی پژوهشنامه متون ادبی دورۀ عراقی 2821-2371 4 4 2023 12 22 A New Look at "Saj" in Saadi's Golestan by Examining the Types of "saj" and Analyzing them in Order to Know the Type of Saadi's Prose نگاهی تازه به سجع در گلستان سعدی با بررسی انواع سجع و تحلیل آنها به قصد شناختن نوع نثر سعدی 165 179 3019 10.22126/ltip.2024.9459.1175 FA امید مجد دانشیار گروه زبان و ادبیات فارسی، دانشکده ادبیات و علوم انسانی، دانشگاه تهران، تهران، ایران. عاطفه احمدی دانش آموختۀ دکتری زبان و ادبیات فارسی، دانشکده ادبیات و علوم انسانی، دانشگاه تهران، تهران، ایران Journal Article 2023 08 07 Addressing the Persian literature in general, one of the components that makes Golestan-e Saadi a great example of literary prose in is Saadi's artistic and moderate use of the original art referred to as of "saj". In this research, the extent of Saadi's use of "saj" is investigated in a descriptive-analytical method, and each and every "saj" of Golestan stories is extracted and counted in order to reach the two main goals of the article. The method of this library research is based on statistics and counting of all the components of melodious speech, such as "saj", balance, and conjugation, and, then, describing and analyzing them. The findings are to be presented in two segments. First of all, what are the methods of Saadi's use of innovative techniques of composing words and their scale. Second, can Golestan be called a melodious prose, or is its prose a separate independent prose apart from the divided types of prose such as melodious and technical melodious? The results of the research, while proving the hypothesis regarding the use of "saj", prove our claim in considering Golestan's style independently. Also, among the types of "saj", the "saj" is more used. The hyphens are mostly at the end of the conjunctions, and the hyphens are less common at the beginning of the conjunctions and in the middle of the sentence. Also, in terms of the length of the parallels, there are Multiple uses of "saj" with equal parallels. The difference in the length of the prepositions is very small and in some cases not noticeable, and in case of difference, the number of sentences where the first preposition is longer than the second preposition is more and vice versa. Introduction: Saadi is undoubtedly one of the most sweet-spoken poets and writers of the Persian language, who has tested his character in both verse and prose, and surprisingly, has been successful in both cases. He is rightfully called "Afsah al-Mutkalmin" and his "Golestan" is the best proof of his eloquence. He is one of the poets who became famous during his lifetime due to the creation of poetic works such as "Golestan" and "Bostan", and many of his words have become popular among people. His writing style has persuaded a large number of individuals imitate him, but none of the imitators could act like him because they only saw the smooth and eloquent appearance of speech, and they did not understand his art in using innovative and expressive techniques. One of the components that makes Saadi's Golestan a great example of literary prose in Persian literature is Saadi's artistic use of the original art of "saj". But the point is, can Saadi's Golestan be considered as a perfect example of prose like the works of Khaje Abdullah Ansari? Or if this text is written in Masji style, it is Sajei with distinctive features? Saja is considered as one of the tools of creating music in speech and hasa predominant role in the rhyme of poetry, where "weight" and "lettering" determine its types. There is a difference of opinion among researchers in the definition of "saj" and its types. Some like Jalaluddin Homai, Sirus Shamisa and Zabihullah Safa carry the idea that the weight in "saj" is the same as the weight of prosody. But some like Koresh Safavi have objected to this statement and believe that the industry that appears mostly in prose should not be defined based on the weight of prosody. Regardless of the differences of opinion about the definitions of sajja and its types, the most famous classification of sajaj in literature is its division into three types: Parallel Hyphenation: It is when two words have the same weight and number of letters and the letters on them are the same. Such as; anecdotes and complaints. Balanced spelling: It means that both words have the same weight and number of letters, but the letters on them are different. Like the world and perfect. Sajja Mutraf: It is when one of the two words has more letters than the other, but they are the same in the final vowel. Like now and then. Of course, there is another division of "Saj", based on which we examined Golestan Saadi in this research. This division is formed based on the shortness and length of sentences or similes and is divided into three categories. The first group of sentences that are equal in length. The second category of sentences that are respectively longer than each other and the third category of sentences that are respectively shorter than each other. Another point is about the place of "saj" in the sentence. According to this statement, the initial tense (the tense that comes at the beginning of the sentences), the middle tense (the tense that is in the middle or the middle of the sentence), the alternating tense (sometimes the tense comes neither at the end, nor at the beginning, nor in the middle of the sentence, but It is placed alternately and consecutively in the sentence) and the final hyphen (at the end of the sentences) have been classified. A lot has been written about the style and manner of speaking of Ustad Sokhon. Some have said that Golestan is the best example of Masja's prose in Persian. They have also said that Golestan, "Mursal" prose is inclined to "saj" and Saadi was influenced by the works of Khwaja Abdallah and other predecessors, but he used the art of "saj" in moderation in his prose. This is due to the fact that after having a glance over the works of Khaje Abdullah Ansari, it can be observed that the verses he has included in his works are more a type of poetry than prose. Sometimes the continuity and sequence of verses in Khaje Abdullah's prose makes it difficult for the audience to understand. While in Saadi's prose, this sequence of "saj" is not repeated. Saadi also uses simple sentences among the words of encouragement, and his prose moves towards simplicity and fluency. In this research, the extent of Saadi's use of "saj" is investigated in a descriptive and analytical way, and each and every sajja of Saadi's Golestan stories is extracted and counted, in order to reach the two goals of the article. Materials and Methods: The method of this library research is based on the statistics and counting of all the components of melodious speech, such as "saj", balance, inlay, conjugation, and then describing and analyzing them. Results and Discussion: In this research, attempts have been made to cover two ideas. First of all, what are the methods of Saadi's use of innovative techniques of melodizing words and their scale. Followed by that, is it possible to call Golestan entirely a melodious prose, or is its prose a separate prose, except for the divided types of prose, such as mursal, melodious, and technical melodious prose? Conclusion: The results of the research, while proving the hypothesis regarding the use of saja's, prove our claim in considering Golestan's style to be independent. By examining the types of sajja in Golestan, it was observed that among the types of sajja, the sajja is more widely used. The saja's appear mostly at the end of the conjunctions, and the saja' is less common at the beginning of the conjunctions and in the middle of the sentence. Also, in terms of the length of the conjunctions, it is very small and in some cases not noticeable, and in case of difference, the number of sentences where the first conjunction is longer than the second one is more and the opposite is few. در فضای عمومی ادبیات یکی از مؤلفه‎هایی که گلستان سعدی را در ادبیات فارسی نمونۀ اعلای نثر ادبی کرده، استفادۀ هنری از صنعت بدیعی سجع است. در این پژوهش میزان استفادۀ سعدی از سجع به روش توصیفی‌ـ‌‌تحلیلی موردبررسی قرار می‌گیرد و تکتک سجع‌های حکایات گلستان استخراج و شمارش می‌شود تا به دو هدف مقاله برسیم. روش این پژوهش کتابخانه‎ای و بر مبنای آمارگیری و شمارش تمام مؤلفه‎های آهنگین‌کردن کلام مانند سجع، موازنه، ترصیع، مزدوج و سپس توصیف و تحلیل آنها قرار دارد. می‌کوشیم دو چیز را نشان دهیم: نخست اینکه شیوه‎های استفادۀ سعدی از صنایع بدیعیِ آهنگ‌دارکردن کلام و میزان آنها به چه شکل است؟ دوم اینکه آیا می‌توان گلستان را یک نثر مسجع نامید یا نثر آن یک نثر مستقل جداگانه‌ای به‌جز انواع تقسیم‎بندی‌شدۀ نثر مانند مرسل و موزون (مسجع) و موزون فنی است؟ نتایج تحقیق ضمن اثبات فرضیه در خصوص کاربرد سجع‌ها اثبات‌کنندۀ ادعای ما در مستقل شمردن نوع سبک گلستان است. همچنین از میان انواع سجع، سجع مطرف کاربرد بیشتری دارد. سجع‎ها بیشتر در پایان قرینه‎ها می‎آیند و سجع در آغاز قرینه و میانۀ جمله کمتر مشاهده می‎شود. همچنین از نظر طول قرینه‎ها سجع‌های با قرینۀ برابر، فراوان هستند. تفاوت طول قرینه‎ها بسیار کم و در مواردی نامحسوس است و در صورت تفاوت تعداد جملاتی که قرینۀ اول بلندتر از قرینۀ دوم باشد بیشتر هستند و برعکسِ آن انگشت‎شمار است.

https://motounadabi.razi.ac.ir/article_3019_46a60d1eed86d44db9133997412e1477.pdf