جستجوی مقالات مرتبط با کلیدواژه « خواجوی کرمانی » در نشریات گروه « علوم انسانی »

The main topic of literary types in the new way is the classification of literary works in terms of content and meaning. However, in the new way of classifying literary texts, literary works are placed in four categories of lyrical, educational, epic, dramatic literature, but any type Literature can have other types within itself, and this is also true for the works of Khajawi Kermani. Although Khajawi Kermani is a poet, love stories can be seen in his works, such as Homay Vahmayoun, Gol and Norooz, but in each From his love poems, various manifestations of didactic, epic literature, etc. can also be seen. The present research examines the literary types and themes and content of Khajovi Kermani's works.

The present research is a theoretical study that was carried out using the library method and the descriptive-analytical method.

Literary types in Khajovi Kermani's works do not have the same frequency, and the poet was influenced by the atmosphere governing his poems, common traditions or influenced by the political, social and cultural conditions of his time. Quantitatively, the frequency of each literary type in Khajovi Kermani's works is related to the subject of each work. The main theme in Khajavi Kermani's works is praise.

The most important themes and contents of Khajawi Kermani's works are complaints, praises, laments, congratulations, satire, boasting, requests, prayers, descriptions, which use special linguistic techniques and functions according to each of these topics. In the works of Khajovi Kermani, there are didactic, epic, and lyrical literary types with their related branches and branches. Khajo draws his thoughts and emotions in beautiful pictures and excellent paintings and conveys the meanings and words to the reader in a concise manner and with a catchy song.

Adherence is one of the literary techniques that, according to critics, can create beauty as well as cause extreme fabrication. The obligation in this research is the repetition of one or two words in each verse or stanza that the poet obliges him to mention from the beginning to the end of the sonnet, ode or fragment. The previous researchers have written "Shotor- Hojreh", the name of an ode by a Katebi Torshizi who has used two possible words "Hojreh" and "Shotor" in each verse, and many poets have imitated and followed him, but the reality It is that before Katebi, this type of poetic test, with two words that are incompatible with each other, such as "Shotor" and "Hojreh", had a history, and many poets up to the era of Qajar and Pahlavi put their taste under the torture of difficult commitments like this. have given In the current research, which was conducted in a library format, this researcher faced the question of which poets followed these difficult commitments and what other words were added to it until the era of Qajar and Pahlavi?

Khajo-ye Kermani, one of the leading figures of Persian literature in the 8th century, followed Ganjavi's method to compose poems such as "Rouzeh al-Anwar", "Goharnameh" and "Kamalnameh" in order to express his style in this way. His predecessors should convey their moral teachings to the audience with an orderly and pleasant expression. He has acted in two different ways in this field; In the sense that sometimes these teachings are presented directly from the poet's own language and sometimes indirectly from the language of fictional characters. "Rouzeh al-Anwar" mystical, moral and social systems in the fast sea, based on the weight of military secrets and compiled in twenty articles, each of them is on a specific topic and is explained and confirmed with an anecdote.

The present research was carried out in a descriptive-analytical manner using library resources.

Khajo-ye Kermani, in the "Rouzeh al-Anwar" system, paid attention to the arrangement of words and bringing in new and new allusions and metaphors in the introduction and beginning of twenty articles, and the desire to be artistic in any possible way is evident in his work. In this poem, Khajo expands the stories that often do not exceed the limit of questions and answers by describing the states and moods of the characters, and narrates the conversation sometimes up to 49 verses. The attachment to the music of words and the harmony of words and the appropriateness of expressions is a significant and noticeable feature in this work of Khajo. As if the poet's thought starts its movement from the music of words. Paying attention to the use of wise words and similes and the use of similes should be considered as one of the main features of this system. The findings of the research show that Nakhleband poets among the literary arrays in the domain of innovation tend more than anything to all kinds of puns, phonemes, repetitions, emphasis and contrast, and at the level of expressive arrays, simile and the metaphor of the expression have the highest frequency in his words.

The results of this research indicate that Khajo-ye Kermani in the "Rouzeh al-Anwar" system, by mixing social and moral themes with mystical concepts and teachings, gave a "mystical" color to his system and his characters. In these anecdotes, which are mostly from well-known Sufis such as Bayazid Bastami, Junaid Baghdadi and Abu Bakr Shebli, they are used as a tool to persuade the audience and the effect of these teachings on his soul and soul. Of course, it is also necessary to mention that in this poem, Khajo did not neglect his style of characterization of lyrical poems and characters like "Laili and Majnoon" also play a role in some of the stories of this poem among the main characters.

Poverty as a stage of life is of great importance not only in literature, but also in the mystical field. The seeker in this position achieves the annihilation of God by denying the transcendence of God, which is the ultimate mysticism. This study has analytically-comparatively examined and compared the views of two prominent mystics and poets of the eighth century, Khajuye Kermani and Shah Nematullah Vali, regarding the concept of poverty. Findings show that both poets' view of poverty includes spiritual poverty, which elevates the human spirit to perfection and a high position in relation to richness. The difference is that Khajou has considered material poverty in some verses that have low frequency. He also used other terms in the meaning of poverty, such as: begging, poverty, while Shah Nematullah, in addition to these words, also used the word "dervish" a lot. This kind of application of poverty indicates the diversity of the Sufi language of the two poets in expressing their mystical purpose and the duality of the concept of poverty.

 Image is one of the most important pillars of art production in literature. The analysis of the poet"s imagery leads to the recognition of his artistic style and intellectual system. In this research, an attempt has been made to study the imaging structure of Khaju Kermani; In this regard, studies have been done by looking at the vertical and horizontal axis in the lyric poems of Khaju Kermani. In analyzing the frequency and explaining the frequency of different types of images, the details of the poet"s artistic and intellectual style, which has led to a coherent whole of the image in the vertical and horizontal axis of the images, are discussed.

 This research was conducted by descriptive-analytical method.

 The image in Khaju Kermani"s divan is a strong element for expressing various themes, especially romantic and mystical themes. Most of the tools used by the poet to illustrate in sonnets are expressive industries such as simile, metaphor and irony, and novel industries such as allusion, contradiction, paradox, and ambiguity, and simile is at the top of them. The high frequency of application of this tool in illustration is due to the possibility of creating images and visualization of multiple dimensions of romantic and mystical concepts by these industries.

 In the horizontal axis of images, more objective examples have been used and sometimes images have been made and processed using abstract concepts. Khajavi Kermani is one of the few Iraqi style poets whose vertical axis of poetry is very strong. In some of Khaju"s lyric poems, the poet"s emotional attachment and thought cause a return and re-illustration of an object, word or motif. Sometimes in his poetry we encounter a conflict of images, which of course has not caused the weight of meaning. This has happened both in the horizontal and vertical axis and has doubled the rhetorical burden of the poem.

Lyric includes a wide range of subjects and poetic formats. Specifically, it is a type of poem in which the element of emotion is dominant and naturally it has some components that have made it different from other types. In the present study, the author investigated the indicators of lyrics in the story of Homay and Homayoun by Khaju Kermani and the poet pays attention to rhetorical principles and the relationship with the audience. Components that this study has been written based on them are the personalization of "I" in lyrics and introspection, being romantic-mystical, compounds of lyrics, descriptions, and metaphors, investigation of battles and banquets, etc. which is matched by expressing some examples of Khaju's poems. The general purpose of the research is how these components are manifested in Homay and Homayoun? The result of the research is that; the mighty poet has paid attention to the form and meaning and the way they are used and their impact on the reader. This literal type enjoys a great deal of lyrics value due to the usage of battle and mythological elements by Khaju and ethical points(doctrinal) that are specific to other types, and the emergence of lyrics indicators is outstanding in the way that it covers epic and ethical indicators. The imagination power of the poet and using these features have turned the work into a lyric and made it a special one.

Gol o Nowruz, the romantic masnavi of Khaju Kermani, the prominent and creative poet of the eighth century AH, has been critically edited for the first time by Kamal Eini and afterward by Saeed Niaz Kermani. These two critical editions have several shortcomings and problems that have been addressed in this study. The key shortcoming of their works lies is the absence of methodology; they have not adopted a specific method for editing the text of the available manuscripts. Moreover, neglecting the stylistic features of the text, the meanings of the words and verses, and the story’s narration has caused misreadings of this valuable text. Although Niaz Kermani has overcome some of the shortcomings of Kamal Eini’s work, his edition has its errors and inadequacies. In the present study, by a descriptive-analytical method, the two critical editions of Gol o Nowruz have been criticized. The flaws of both critical editions show that this valuable text requires a new and scientific critical edition

Paradox is one of the literary tricks that is present in oral speech, philosophy, logic and even areas of human life, and it is a poetic combination of two words that have a contradictory meaning and seem intellectually impossible. In literature, this trick is one of the beautiful verbal arrangements that its beauty factor is in the astonishment that it creates in the mind of the audience. Khajoo Kermani is one of the powerful poets of the eighth century AH who has used this paradox very artistically in conveying concepts and themes; Therefore, the present study is dedicated to examining the paradox in Khajoo Divan. The method of this research is descriptive-analytical. The results show that Khajoo Kermani in his poetry collection looked at these paradoxes as one of the literary and poetic tricks and considered them from different angles and used various techniques in expressing these contrasting elements. And has provided the means to highlight his word.

In the book “The Hero with a Thousand Faces”, Joseph Campbell introduces the hero’s journey archetype by examining various mythical stories in all over the world. He believes that in all stories, the hero’s journey follows a constant paradigm. In this research, this paradigm is investigated besides other archetypes including shadow, old wise man, anima and other mythical symbols in the book “Gol and Nowruz”. Examining this verse based on the Joseph Campbell approach is a new reading of this lyrical narrative. Although, Nowruz’ journey is done apparently to reach the beloved, in fact, it is considered a religious journey. Nowruz gets marry to Gol, as a Christian girl, by converting her to Islam after reaching her and returns to his country by uncovering the veil of ignorance. This journey introduces the hero as a universal figure, so that the society accepts him eagerly. He owes his immortality to the values that grants them to the society.

Art and literature have a special place in Campbell's mythology, which is one of the most important study objects. Single myth is one of the mythological methods in the field of literature and art, both in the field of creation and in the field of understanding. Critics turn to a single myth to understand the works created in this way. Campbell has been more involved with literature than any other art. The ancient model of Hero's Journey by Campbell is written on three general lines of narrative- separation, arrival, and return, along with seventeen sub-categories, which ultimately pave the way for the hero's psychological development.The present study is a analytic-comparative study that was conducted in the statistical population of Homay and Homayoun poems, and analyzed Homay's journey to China based on Joseph Campbell's "Hero's Journey" theory. And the result of the study indicates that at the end of the journey, the hero has reached a psychological development and self-knowledge and gained identity.

Language is the most important tool for communication by means of which human being can express his or her meanings and various needs. One of such needs is expression of envy, homesickness, and grief for the past called nostalgia. The sense of nostalgia is mingled with the thinking, sensation, and behavior of humankind. In Sufism and Islamic mysticism, nostalgia is remarkable presence having meaningful dimensions and various interpretations. In addition, nostalgia is the most impressive psychological activities in Persian literature, especially in the eighth century for which there are two mystical poets, namely Khaju Kermani and Salman Savoji. This paper investigates through descriptive analytic methodology aimed at the study of the poems by Khaju Kermani and Salman Savoji on the mystical nostalgia to explain the different types of nostalgia and the causes pertinent to that notion from their standpoint. The most significant thing this paper accomplishes is the identification of various factors affecting the mind and thought of the poet and its reflection on the better understanding and relation with their poems. The original staying away from home country and real beloved is the nostalgic themes of their works. The results of this paper explains why Salman Savoji, like Khaju Kermani, has felt the mystical nostalgia arisen from distance from real beloved and original homeland. After a short introduction on the multifaceted concepts of traditional, modern, and postmodern nostalgia, the writer deals with the explanation and account of nostalgic idea and its subdivisions in Khaju Kermani’s and Salman Savoji’s divans with reference to dictionaries and reference sources and articles, and thereafter, he mentions some evidences of their literature for each subject matter.

There are many works on the subject of image and its analysis, which are often studied based on the science of expression and novelty and under the title of imaginary forms.Images and fantasies are twins reflecting the reason and essence of poetic words and reveal the artist's mentality inside and outside the world. Imagination is the speaker's mental effort to create a novel link between his conscious and unconscious. In other words, the images are the result of the interactions of the artist's imaginative workshop, which change the nature and form of objects that are neither completely human nor natural. "Independent image" is one of the types of images whose constituent elements include the exclusive nature and self-reliance of the poet's thought and can exist outside the space of poetry.Considering the process of formation of the concept of image, the role of imagination, while preserving the theoretical nature of the image, in KhajaviKermani's poems, we have discovered and represented various dimensions resulting from recognizing the multi-layered structure and different types of images in his lyric poems,  achieving poetic image from different angles of aesthetics, literature, society, etc. The purpose of this study is to analyze and interpret independent images in KhajaviKermani's lyric poems to guide the reader to the discourse network of his poems. Categorization of obtained discourses by titles; Ontological, romantic, governmental political, and religious discourses, and discourses in the field of patriotism, etc., are divisible.The results obtained from the analysis of the discourse of independent images of Khajoo,s Ghazal illuminate details of the culture and society and the life, thought and vision of the poet. The poet's attitude to love as the main axis of human life, the discourse of disgrace and name and of course the discourse of the homeland are allusions to them. This research has been studied by descriptive-analytical method using library resources.

In this article, we decided to analyze motifs in the fiction of "Homay and Homayon" by Khajoye Kermani. In this research, the descriptive-analytic study was conducted to investigate if the poem of "Homay and Homayon can be classified as classical Persian literature, how close it is to folk tales, and what demonstrated classification of its motifs can be offered. After investigating and extracting all motifs, we classified and analyzed them in six classes: human motif, animal motif, thematic motif, place motif, wonder motif, munificence motif. The results showed that the absence of anything essential, fundamental, mythological, and epic such as snake, dragon, cow, elephant… and such elements as plants and transformation of creatures detracted from its appeal. Saints and masters play no important role. Thematic motifs showed the highest frequency, which indicates that the system is dynamic and fluid rather than static. The writer has reported the story by using only some issues that reduced its appeal.

SamName is one of the heroic poems about the courage of Sam Nariman, which was written in imitation of Ferdowsi's Shahname. Knowing the composer of this poem and also the period of its composition is one of the complex topics of Iranian epic literature. In some recent sources, SamName has been attributed to Khajooie Kermani, the famous poet of the eighth century, and the attention to this point and the mention of Khajou in a number verses of this poem, the authenticity of which is doubtful, has caused some scholars to consider the SamName as the poem of this poet. However, a number of other scholars have rejected this attribution. Recently, by examining the manuscript versions of the ShabrangName and based on the phrase at the end of one of its manuscripts, a researcher has hypothesized that SamName is the poem of an anonymous poet named Khajou Shahname Khan Korati. In this paper, we first examine the different opinions and theories of researchers about the narrator of the system, then by providing the final verses of one of the manuscripts of this poem, we that the poet of SamName as Khajou Shahname Khan, , he composed this poem around the tenth century.

The research method in this paper is library and fiching (indexing). Among orientalists, Spiegel was the first one who considered the SamName as the composition of Khajou. After him, Jules Moll referred to the SamName, in the introduction of Shahname, without mentioning its composer and only wrote that its source goes back to the stories of the Sassanid period. Shortly afterward, Herman Ateh considered it a kind of forgery and change of Homay and Homayoun prepared by Khajoui Kermani, without mentioning the composer of SamName, Jan Ripka also called the SamName shameless plagiarism of  Homay and Homayoun and argue that it belongs to the Timurid period. In Iran, Bahman Sarkarati was the first one who hypothesized that perhaps a poet named Khajou, and not the famous Khajavi Kermani, composed the system with little literacy. Shortly later, Mahmoud Abedi wrote in an article that the composer of SamName is apparently someone from the class of narrators, storytellers, and familiar with the Shahname and Garshasbname, which is attached to verbal folklore stories. After rejecting the attribution of the system to Khajoo, Vahid Royani, the editor of the SamName, considered it a combination of  Homay and Homayoun with some folk tales, which probably happened from the tenth century onwards. By investigating these disagreements, the aim of this study is to introduce the true poet of the SamName and to clarify one of the ambiguities of Iranian epic literature.

In a number of manuscripts of SamName, Khajoo has been introduced as the composer of SamName. Examining these verses, we can find that these poems are taken from Homay and Homayoun of Khajavi Kermani, which entered into some manuscripts of SamName. Therefore, they cannot be cited when investigating the poet of  SamName, because it is not the composition of the poet of the SamName on the one hand, and also in is not mentioned in most manuscripts of this poem on the other hand. However, most of the people who considered the SamName to be a poem of Khajou, have cited these verses. One of the noteworthy evidences associated with the composer of SamName is the phrases appeared at the end of one of the manuscripts of Faramarzname, which Shabrangname has been written before that. In this version, a poet named "Maulana Khajoui Shahname Khan Karati" is mentioned. Based on this phrase and by examining and matching the manuscripts of Shebrangname, Abolfazl Khatibi guesses that Khajavi Shahname Khan Karati was an anonymous poet who plagiarized the two poems of small Faramarzname and Shebrangname. This researcher also writes about the Samname that until convincing evidence is found, it can be assumed that around the tenth century AH, a poet named Khajoui Shahname Khan Karati, which it is obvious from his title is Shahname Khan, and attached to epic poems, has composed SamName as a combination of Homay and Homayoun of Khajoui Kermani, by changing the name of Homay to Sam and Homayoun to Paridokht, in addition to creating some other poems about Sam and Paridokht, which were popular among the people at that time. Although Khatibi could not provide evidence to prove his conjecture, the author eventually obtained a manuscript of the poem that confirmed the researcher's conjecture.

At the end of the manuscript of this poem dated 1129 AH, registered in the National Library of Tabriz, the poet mentions his name and title, Khajoui Shahname Khan, and he is undoubtedly the same Khajoui Shahname Khan Karati that Khatibi has mentioned in his article. Apart from the art of reading Shahname, Khajoui Karati was also a poet, and he may have read the poems of SamName to the people. Khajoui Karati did not study in the presence of any teacher and what he had learned was due to his attachment to reading and learning, and apparently, this has caused loose verses in his poem and perhaps the inclusion of Homay and Homayoun verses in his system, or changing some of its verses was due to his little illiteracy and lack of knowledge of the principles of poetry.

Nazarbāzi is one of the most frequent themes in Persian romantic and mystical literature, which is reflected in the works of many great Persian writers. According to some mystics, nazarbāzi refers to a kind of mystical experience in which the mystic reaches a state where he looks at everything, sees God and His manifestations and loves them. Among these mystics are Khwaju Kermani and Shah Nimatullah Wali that in their poems, nazarbāzi can be divided into spiritual and worldly. The purpose of this study is to compare and explain the similarities and differences between the concept of nazarbāziin the poems of these two mystics. The research is done by using descriptive-analytical method. The results of the research show that Shah Nematullah Wali, by watching beautiful faces, looks at the image of God's beauty and his opinion does not refer to physical beauty. But according to Khwaju Kermani, the reason for man to enjoy the blessing of sight is to look at his beloved, and for this reason, most of his poems, related to nazarbāzi, are addressed to the earthly beloved.

Kamaluddin Abu al-Atta Mahmoud bin Ali bin Mahmoud Kermani, known as "Khawaju" and known as "Khawaji Kermani", is one of the eighth-century famous poets and so-called Hafiz poets in the Ghazal alGhazali period. In this paper, which is written in a descriptive-analytical way, we have studied the stylistics of Kermani's sonnets. The main purpose of this article is to investigate and determine the style and content characteristics of Kermani sonnets. The results of the study show that the Ramal bhajr is more frequent than the eleven bhaju at which its sonnets are composed. The use of sensory-to-sensory similes, ambiguity in its various forms, various implications, including the characteristics of the sonnets at the literary level. are. The numerous patterns of equation, diagnosis and paradox in his sonnets indicate that Khaju was one of the first to take the first steps in the emergence of the Indian style. Love forms an important part of his sonnets and then the mystical themes in the sonnets. He has more appearance. He is, of course, a professional mystical poet because he is only interested in mystical themes and themes. In some cases the combination of love and mysticism and the combination of the two with elements of Randy and Calandari worlds has given special prominence to his words.

The manuscripts contain valuable historical, literary and mystical information for literary scholars. In particular, one of these copies (based on the four correct versions cited) is the valuable work of Khajavi Kermani (M: 750 .) Mofatih al-Qalub and Mosabiah al-Ghib are a poem in the form of Masnavi, which consists of twenty-eight Bab and five seasons; it was completed in 747, and Khajo wrote it in the name of Amir Mobraz al-Din, and ended it and dedicated it to Shah Mansour Is. The structure of the system and the manner in which the content is expressed is interesting and, in some cases, novel.In addition to the new poems that he has written, the poet has made an excerpt from his other works and included in his work. The language of poetry is in Movaathi al-Qalub and Mostabiyh al-Gibub in Persian language with a romantic and mysterious, elaborate and psyche content. The poet's tendency to composition and its role in the formation of the form is remarkable. From the perspective of imagination, the plurality of image and metaphor, and recognition over other species prevail. The mystical structure of this outstanding document is worthy of consideration, as well as its literary and mystical value in the field of research. A detailed examination of this work gives a more complete correction to the well-known verses and poems of the poet.

Khajuye Kermani is one of the most prominent poets of Persian literature whose beautiful tone and his delightful words have a great deal of attraction. One of his charming books is Homāy o Homāyun that in its composing, the poet follows the style of Nizami Ganjavi. During composing any romantic story, Khajuye Kermani refers to myths, as the cultural backbone of a nation, and in this way, takes an effective step in preserving Iranian culture and civilization. By using the analytic-comparative method, in the present article, the attempt is made to compare some mythological points in Homāy o Homāyun with the myths of Mesopotamia, India, China and Greece. Thus, it becomes clear which myths have been mostly used by Khajuye Kermani. The results of the research show that among the lyrical poets, Khajuye Kermani, after Nizami Ganjavi, gets the most use from myths, especially in Homāy o Homāyun. Also, among the various types of myths, myths related to supernatural forces and creatures, mythical rituals, mythical places, cosmic creation and diabolical creation are most commonly used.

Style is defined as the particular way by which the message is expressed. Unity is derived from recurrence of features that exist in the writer’s works in terms of linguistic and intellectual issues as well as special choice of words and expressions to attract the readers’ attention. In this study, two Ghazals are selected, one from Hafez Shirazi and another from Khaju Kermani as two contemporaneous poets who apply similar rhythm, rhyme, and Radif in their poetry. It is attempted in this article to explore major stylistic features of these two Ghazals in terms of literary, linguistic, and intellectual aspects to shed light on their commonalities, differences, and prominent stylistic features. By the stylistic identification of these two aforementioned poets we can discern their mental, behavioral, and intellectual characteristics. The results of this research show that two poets had similar linguistic performance and the stylistic personification of that period is evident in the vocabularies used by them. Considering intellectual aspects, Sheikh San’an is the central core of two Ghazals; however, satire is more noticeable in the tone of Hafez. The most outstanding difference between these two Ghazals is related to literary aspects.