جستجوی مقالات مرتبط با کلیدواژه "تصویر بلاغی" در نشریات گروه "ادبیات و زبان ها"

Astronomical elements and expressions have always had a remarkable presence in the content and form of nation literature, especially Persian poetry. Complete perception of a majority of poems highly depends on understanding the semantic relations and aesthetic details of used astronomical issues and phenomena. Therefore, the present study aims to explain semantic and aesthetic function of consultation, as an important and determinative part of astronomical issues, in Rumi’s sonnets. Being a descriptive-analytical research, the current study reveals that Rumi has used the names of consultations 117 times. The most frequent ones include Aries (whose contemporaneity with the sun has depicted an impressive image), Leo, Taurus, and Libra. The most important implicit contents by these consultation are related contents to spiritual resuscitation, approximation, mystical love, demand, and the benefit from the presence of leaders, criticizing carnal affiliation and condemned world. Due to Rumi’s mystical-eloquence use of the names of consultations in the verses containing several images, figural function of consultation names has higher frequency, 139 times, depicted in the form of symbol, ambiguity, irony, and simile. Image mixture is one the remarkable parts in his sonnets including symbolic similes, irony-symbol, and simile-irony. Rumi has benefited from symbols in other images. Moreover, he has emphasized irony notably. The names of some consultations, also, have been used in ambiguous structure, especially proportionality.

In Islamic culture, like different human cultures, much has been said about the world and its examples. The great Persian poets have often dealt with this issue based on their religious attitude and intellectual nature. Rumi, as one of the greatest poet-mystics in Persian literature, has also expressed his views and position about the world instead of Masnavi. This study intends to search for its roots and bases among verses, hadiths and narrations by examining the rhetorical images of the world in Masnavi. In fact, the main question of the present study is which positive or negative images of the world in the spiritual Masnavi overlap with the views of the Holy Quran and other religious texts, and to what extent is the Masnavi influenced and inspired by these texts in presenting these images?

The method of conducting the present research will be library type in terms of content analysis. Thus, in the beginning, by studying the Masnavi Manavi and other related sources, as well as by using various books, and referring to various electronic databases and using publications and magazines that are related to the research topic, the desired materials are filtered and then They are categorized comparatively according to the content of the content.

Rumi has a Quranic and revelatory view in expressing most of the images of the world, and by mastering the divine book, while being influenced by verses and hadiths, he describes the world in a completely beautiful way.

The miracle and beauty of his work is that these descriptions and images have been created in a eloquent and allusive way. Also, the negative and reprehensible images of the world are presented in this work far more than the positive images (almost twice), however, in no case is life itself presented as low and worthless, but it may be presented as low for human beings.

People’s name, with varied details, has always had an effective role in rhetorical quality of nations’ literature, including Persian poetry. Understanding the concept of many poems is linked to understanding visual structure of their proper names. Given the importance of this issue, this study is to examine and compare visual function of People’s name in lyrics of Sanai, Attar and Rumi. For the purpose of this study, the people’s names helped transmitting the poet’s thoughts, either as a whole image or as a part of a pictorial process, are examined. In lyrics of Sanai, Attar and Rumi, there are 277, 182, and 433 images, respectively, which represent proper names of people. These three poets have so specially characterized the structure of literary images that it can be regarded as a feature of their poetic style. As regards, Sanai took the most advantage of symbols, allusions, similes, metaphors, and ironies while Attar and Rumi used allusions, similes, symbols,metaphors, and ironies the most. Proper names in this type of Sanai’s poems include:names of the prophets, fictional-historical names, names of the famous lovers, religious-mystical names, mythological-epical names, historical-Quranic names, names of angels and Devil. In Attar’s lyrics,names of the prophets, mythological-epical names, fictional-historical names, names of the famous lovers, historical-Quranic names, names of angels and Devil are more pronounced. Also, in Rumi’s lyrics,names of the prophets, religious-mystical names, historical-Quranic names, fictional-historical names,names of the famous lovers, names of angels, mythological-epical names, and Devil were most used. Another aspect of the findings suggest that, in lyrics of Rumi, thematic-contextual function of proper names was mostly mystical. Lyrics of Sanai and attar represent a combination of mystical and romantic function; the subtleties of which will be discussed