جستجوی مقالات مرتبط با کلیدواژه "منظومه غنایی" در نشریات گروه "ادبیات و زبان ها"

Amir Khosrow Dehlavi is one of the famous Persian mystics and poets of India, in the second half of the seventh century and the early eighth century AH. He was a disciple of the saints (d. 725 AH) and the education he received from him gave him a special position in the field of Sufism. The lyrical, literary and historical poem Dolarani and Khezr Khan is one of his Masnavi which contains 4519 verses. This Masnavi to Bahr-e-Hajj is the culprit or omitted in the true story of the love of Khidr Khan, the son of Ala 'al-Din Muhammad Shah Shah Khalaji with "Diwaldi", the daughter of Rajah Gujarat. Amir Khosrow first wrote this story in Persian prose and then arranged it in 715 AH by the order of the Sultan. The lyrical poems of Dolarani and Khezr Khan Amir Khosrow have been compiled with a mystical approach and the theological and mystical teachings are quite obvious in his poems. The lyrical system of Dolarani and Khezr Khan in 1988. Published in Delhi Literature Department. Also, its Persian text was published in 1336 in Mumbai with an introduction and footnotes in Urdu. In 1917, Rashid Ahmad Ansari corrected the system of Dolarani and Khezr Khan and published it in Delhi with the introduction of the army.

The characters of a lyrical poem depict human emotions that originate from individual and society’s heart. (sense of) Shame has always been one of the most important emotional elements in Iranian culture as well as romantic relationships. The reflection of this theme leads to the formation of all kinds of shame, each of which leads to different reactions. In this research romantic relationships are studied by comparison of two poems "Vis and Rāmin" and "Khosrow and Shirin", in two different time periods (before Islam and after Islam), while conceptual analysis of shame reflection and selection of keywords are analyzed as well. The results of the study show that the type of shame is different in these two poetries and while having different contexts, it also appears differently in the performance between lover and beloved, which is carefully analyzed.

Amir Khosrow Dehlavi is known as the "Parrot of India" (Samarqandi''''''''s government, 2007: 238). His father, Saifuddin Mahmud, is originally from Lachin and his mother from India''''''''s Pythyol. He lived in the city of Turkestan and was the head of his tribe. From his childhood, he revealed his poetry. Amir Khosro studied the sciences and techniques and studied Persian works and poems in order to find complete mastery of the language. He served at the court of many local kings of India and spent his life. Amir Khosrow became aware of the departure of Bengal and Odeh from his late death, Nizam al-Din al-Ola, while returning to Delhi. He ran to Delhi and headed to the harbor of Torbat Sheikh. He separated from the court and left the world in the same year, the 29th of December, 725 AH. He died at 74, buried in his tomb. Ayatollah Khosrow Masnavi Khezrkhan and Dowarnani (715) at age 62. This poem is about the true description of love and marriage Shamsaddin Khadzarkhan, son of Sultan and Dawlrani daughter of Gujarat. Masnavi Dowarnani and Khazar Khan have a lot of historical and social value in addition to literary advantages. Mohammad Shah Khalaji has ruled in Delhi (from 695 to 716 AD). According to Amir Khosraw (p. 50), in 715 BC In four months and a few days, it''''''''s done four thousand two hundred bits, after which it adds 319 bits, so the entire book is 4519 bits, and before the story begins, the verses in the monotheism and prayer P.) And praises the king of the evening (Aladdin Muhammad). This poem is also called "love and passion" (Safa 1371: 3/781). The divisions of the story of the Dvorrani and Khazar Khan verses from the beginning of the life of Dolarani and Khezarkhan until the end of the story, along with the historical and social events And literary Indian subcontinent. The attention to ethical and humanist themes is seen throughout the story of this rich aristocratic system. In sum, desperation and sad sad sadness spread throughout this romantic system, the love that is in this system is a real experience. Heart experience "It is possible to hear the sound of the poet''''''''s soul, which is crushed and broken by the grief and distress. In this form of love that gives him poems, poetry is pain, pain, real pain. A pain that does not recognize disgrace and scandal and is familiar with scandal and disappointment. However, until the ages, he is not separated from the poet''''''''s soul and, until the end of his life, he has been given the youth of the youth. "(Zarinkoub, 1373: 267) The present article answers the following question: - What are the most prominent topics in the poetry of Ghanai Dowarnani Khizarkhan Amir Khosrow Dehlavi?

The research method in this article is an underlying case with a correlation approach.In this research, documentary methods (surveying descriptive)and surveying (using Amir Khosro''''''''s theories in the Dounorani and Khazar Khan poems) have been used to collect information.The article also seeks to use the content analysis method to analyze and evaluate the many application criteria of the subject matter from the perspective of this character. The realm of this research is the entire text of the original verse of Dunarani and Khazar Khan. Also, the indicators of individual and social moral development have been extracted and formulated individually.

The poem is a poem in which the poet, regardless of his personal feelings, speaks of the perfection of goodwill about the various issues that bring about social reform. Although wisdom and wisdom are not specific to a particular form of poetry, this method of education in the Persian poetry system is enriched. "One of the pillars of stability, permanence and immortality of a work in the East is always the emphasis on moral principles and teachings." (Yalemae, 2011: 154) In Persian poetry, the broadest spiritual and emotional horizon is the horizons of ghana poetry. The topics that make up the ghana poetry in Persian literature are almost all of the same. It is worth noting that in Persian literature, many concepts are often combined, and in most poetic forms there is a set of these concepts. Ghana, in the words of the word, means the song, melody and vocal, and the poetry is said to be a poem that is the reporter of the emotions of the poet''''''''s personal sentiment (Moin, 1375: below the word), and "Ghana''''''''s poems, as its name implies, is poetry." Which deals with love and friendship, suffering and abominations and whatever the human soul is exposed in expressing human emotions "(Razmjoo, 1370: 64). One of the most common types of poetry is romantic poetry. The romantic poems are the expansion of rich poetry. In the gazelle, the concept of love is spoken, but in the romantic system, the same open and extended theme, it finds perfection in the form of a story. Amir Khosrow Dehlavi is a mystic poet of Farsi language, and for ethos-oriented poets, attention has been paid to ethical issues; it is clear, however, that the ancients of the story - even the love poems - have the pretext and pretexts for expressing the subject matter in question. Therefore, poets who create poetry systems try to use every opportunity to teach moral concepts. This research, in a descriptive and analytical way, attempts to represent the traces of indigenous themes and superstitious thoughts regarding the semantic layers of the story of Ghanai Doverani and Khazar Khan.

Amir Khosrow Dehlavi is one of the prominent Iraqi style poets. Simplicity of language and expressiveness The issues between lover and beloved are the hallmarks of his lyrical poetry. Amir Khosrow in the poetry of Ghanai Dowarnani and Khazar Khan is a poetry meaningful, not formative and more meaningful than in its form. Amir Khosraw believes in the poetry of Ghanai Dowarnani and Khazar Khan that the romantic relationship formed on the basis of humor and humanity will never be disconnected, and the preconditions for the spiritual flourishing of this relationship are provided. His goal was not merely the creation of a romantic system, but, by designing and describing the moral themes, has led to an increase in the quality of speech, action, and thinking of people. To achieve this, he has used semantic mystical teaching texts. Amir Khosrow is a Persian mystic poet and alert is very important in Sofia. In this genial system, the love story is like a skin whose ultimate purpose is to admonish and teach.

Khajuye Kermani, one of the great poets of the 8th century AH, has composed Gol o Nowruz at the request of a beloved and has dedicated it to his noble patron. According to him, the story is originally in Hindi and has been compiled by Babylonian storytellers. Although it has many similarities to Nizami Ganjavi's Khosrow and Shirin, it is a unique work because of having some love sub-stories, a lot of figures of speech and epics, and mystical and mythological themes. Also, Indian and Babylonian mythological beliefs and traditions are present in Gol o Nowruz and the influence of their culture, beliefs and myths on Iranian mythology, religion and epics and traditions has been proven. With regard to this influence and based on the statements of Khajuye Kermani, in the present article the mythical background of Gol o Nowruz is studied by using descriptive-analytical method, and its relation to the mythical narrative of Indra (Indian god) and waters or the cows captured by the Demon, as well as its relation to the Mesopotamia blessed Goddess and his husband are examined.

This study seeks to examine the word love in the seventh to ninth riches, and its main question is to what advice did the authors of this time face when confronted with the word love or encouraged or encouraged by their audiences? In the meantime, the romantic Masnavi have been used by Mohammad Assar Tabrizi, Nizari Ghahestani, and Khajavi Kermani and Masoud Qomi, Amin Ahmad Safi and Salimi Gerouni, and it is clear that the aforementioned poets had a more positive view of the word love. And have encouraged readers to avoid egoism and perfectionism. Keywords: love, education, fortune-telling, seven and eighth century  This essay seeks to examine the doctrinal concept of the word love among the authors of love poems of the sixth to ninth centuries. Although each of these two centuries' enriched poems has incorporated many educational concepts in their poems that are out of the question, As mentioned above, we are going to examine the opinion of the poets in the face of the word love in order to find out what each one of them has recommended to their audience, including editors such as Nizari Qahestani, Mohammad Assar Tabrizi, Khajavi Kermani, Khajeh Massoud Salimi, We call Jeruni and Amin Ahmad Safi

Manuscripts are the cultural heritage of nations and represent the efforts of a country's people to collect and preserve the intellectual, scientific and historical achievements of that land. This research is devoted to the introduction of the unknown system of Manoher and Demalat (‘Majmaee-al-Bahreyn’) by Zahir Kermani. This work has not yet been corrected or printed. origin story is Indian, and The songwriter, in one of the five famous Indian legends called Mewahr and Darmat, has been ordered. So far, five versions of this poem have been introduced in the parliamentary libraries and Astan Quds Razavi, among which the 15927 edition of the library of the Majles differs from the other manuscripts. Zahir has been influenced by the epic section of Ferdowsi and the richness of Lilly and Majnoon. At the end of some sections, short sonnets in Hazzj, khafif, and moteghareb are the endings of the poet's penance. In this article, through descriptive method and with the help of library resources, while addressing outstanding issues in the text of the story, I introduced the poetry. Introducing the ‘Majmaee-al-Bahreyn’, in addition to providing the literary position of this work, will also be effective in explaining the range of Persian language in the subcontine          Storytelling has always been a matter of interest to Iranians. "The titles and professions such as Samargoui, the narrator, the lecturer, the storyteller, the bookwriter, the storyteller in the courts and among the people, indicate the importance of this profession. In pre-Islamic Iran, stories and narratives had been prevalent. Part of it include: Rostam's News, Alexander's Messages, God's Letter, The Story of Marzban, and Yadgar Zariran (Jafarian, 1999: 56).    The flow of storytelling parallel to Iran, attained a special boom in the subcontinent. “The subcontinent has always been the source of many myths and stories, and the story has played an important role in the education of the people of India. One of the common themes in this subcontinent is romance stories. Except for the content of some of the stories that are influenced by Indian rituals, the profound influence of Persian literature and its rich culture in these stories and poems are observable. Indian poets, in addition to their local and traditional language, had also generally composed poems in Persian, or at least by referring to the common catalog of isolated manuscripts, writings and Persian script in the subcontinent can be found.” (Zolfaghari, 1394: 256).     This research seeks to introduce to the lovers of Persian culture and literature one of the unknowns of Persian literature, the Assembly of Al- Bahrain by Ibrahim Zahir Kermānī. The main objective of this research is to introduce Assembly of Al-Bahrain as an example of Romance poetry and its significance on Persian literature.    The poem of the Assembly of Al-Bahrain (Monohar and Demalt) Zahir Kermani is among those poems which have been composed under the influence of Nezami Ganjavi. However, this poetry collection by Kermani has not been published yet. Zahir Kermani is a poet who is well versed in literary techniques and metaphors. He is a poet and writer who is skillful in Arabic language too. He was proficient in sciences such as music, astronomy, chess, and geomancy; he was also knowledgeable about Quran and Hadith and used them in his works.  What are the literary significance and prominent features of this poetry collection?  In this research, in addition to introducing this collection, its importance and its prominent features will be studied. Various versions of this poetry collection will also be examined.      This research deals with library and documentary methods comparing the versions and features of the Monohar and Medhumalat poetry collection.      Ibrahim Zahir Karamani (Zahir Islam) is a poet of the 12th century AD who was born in Kerman and was of Shiite religion. He is a knowledgeable and pious poet and writer whose poetry reflects his wisdom and virtue. Similar to Nezami’s style, he also observes chastity and politeness in expressing romantic themes. There are four works by this poet: Divan, Golshan-e Zohoor, Vameq and Ozra and the Assembly of Al-Bahrain.   The Assembly of Al-Bahrain is a poem in which one of the five legends of India, Manohar and Madhumalat, has been recited. So far, five copies of it have been introduced in the libraries of Parliament libraries and Astan-e Quds Razavi. This poem is a love story about the love of Madhumalat (girl) and Manohar (boy). Outstanding features of this work include such things as "Singing Masnavi sonnets, creating epic images, depicting pure love, preaching, passionate rhythmic love letters and attention to magic."   The poet in different parts of his work where the main heroes have to fight with extraordinary events, rivals, barriers and strange beasts, creates superb epic images and brings the battle scenes to the audience. In martial scenes, particularly in "Sunrise Pictures" and "Epic Warrior Pictures", Kermani seems to have imitated on Ferdowsi's portrayal of sunrise and fighting scenes. As Ferdowsi portrays the sunrise and the sunset in an epic manner in Shahnameh, Kermani also tries to apply the same technique in his poetry.    The poet in romantic and love scenes in his work, depicts a platonic and pure love. A non-physical love that pursues perfectionism. "In perfectionism, there is no physical attraction and a pure love is developed" (Sattari, 1366: 398). Demalt emphasizes the "preservation of chastity" before marriage, and this is a clear sign of pure love in the story. Beloved forbids the lover of impure physical love. In the first visit, where Monohar falls in loves with Demalut, Demalut asks him to observe chastity before marriage. This affection with Love is a reminder of pure love in the poetry of Lilly and Majnun. Pure love and excitement are a kind of Platonic love which will bring perfection to mankind.   In addition to the story of Manohar and Demalt, heroes use the magic to change their nature and identity several times to achieve their goals. "In the sources, magic has three meanings: 1-Cults and fantasies without truth, like hocus pocus . 2- Attracting the devils in certain ways and getting help from them. 3. Change the nature and shape of individuals and creatures with special means » (Rastegar Fasa'i, 2004: 47).     In this story, magic is used to change the nature. When Demalt's mother sees her daughter next to Menahor, she gets very angry with her daughter’s behavior, she reads a magical verse to water and by splashing it to Demalt, transforms her into a parrot.  Turning Demalt to Parrot in this story has the color of Indian tales. The presence of animals in Indian stories is common. The frequency of the presence of some of these animals in Indian stories is significantly more than other animals, among which are parrots. Parrot is a native Indian bird which is frequently found in many Indian stories.      The love poetry of Manohar and Demalt, which narrates the love between the two devotees, has a happy ending. The original is Indian and the poem is in the form of Masnavi. The poet has composed this poem on different rhymes and that is why he has called it the "Assembly of sees". The poet imitated the creation of the epic images of Ferdowsi. In courtly love parts of the poem, Kermani seems to be paying attention to the story of Lilly and Majnun (by Nezami) in matters such as pure love, advice from the father of Manohar and the letters.    This poetry collection has five versions. The 15927 edition of the Library of the Parliament varies greatly with four other versions. In the introduction to this edition, along with short poems by Kermani, there are also poems about praying God, in praise of Imam Ali, the appearance of Hazrat Hojjat and Miraj, which cannot be found in any of the other manuscripts.    The presence of animals in the story, in particular the colorful parrot of Indian stories, tells the story. Animals are the heroes of the stories, sometimes the king, sometimes the minister and ordinary people. Humans and animals do not differ in the function of storytelling roles, and thus simply they can transform into each other.   

The eternal mythological motifs with flexibility and deep extensive meanings, ever exist in the various narratives according to their contents and also to the intellectual and social characteristics of the different periods. They also maintain that beliefs which are the bases of the narratives forming. Volcano is one of these motifs which transfigures as a dragon or a daemon. Struggle of the main character with this daemon is interpreted as his bravery, his competency to achieve the goal and also as a benediction upon the others. This ancient motif which is related to the Aryan mythology, not only exist in the epic narratives, but also it is possible to see its displaced samples in some of the romantic poems. In this essay, the mythological motif of the volcano has been studied in these four romantic poems: Homay-o-Homayoun, Gol-o-Norooz, jamshid-o-khorshid, Mehr-o-Mah. Also, this motif in the romantic poems is compared with its role in the epic narratives. So, the dynamic current of the myths in the non-epic texts will be proved.

Comparative literature attempts to discover the cultural relationships among nations and literary evolutions. This literary orientation is effective in establishing peache and friendship among nations. The main objective of this study is to investigate China through a descriptive-analytical approach in lyrical stories of “Jamshid and Khorshid” and “Vamegh and Azra”. In lyrical story of Jamshid and Khorshid (763 AH) the protagonist of this story, i.e. Khorshid is the only child of Chian’s Shapoor and commences on a risky journey in order to reach the moon. At the end of this mytical journey, he reaches the postion of Complete Man. In “Vamegh and Azra” by Lame’ei, Vamegh is the son of Chinese king and normally China is more prominent in this story as compard to Vamegh and Azra by Zahir Kermani. In Zahir’s story, travelling to China and Love is one of the subordinate characters to one of the Chinese beauties which is important and forms the main events of the story. In these four stories, love seeks a higher objective and provides the lover with much bigger and more significant achievements. The final objective in these four lyrical stories is not a narration of a lyrical story, but is a narration of achieving completion, expressing human affects, mental issues and finally creation of literary joy. China had a vast impact on Persian literature and Mystics from old times and in both stories, i.e. “Jamshid and Khorshid” and “Vamegh and Azra”, China is the symbol of land of motifs and beauties.

In the Greimasian semiotic discussion, in order to know the stages of production and apprehension of the meaning, deep structure of the narrative is to be analyzed according to a variety of processes and patterns of discourse. Since studying and recognizing the mechanisms of meaning production in the lyrical poems seems necessary; In the present study, semiotic features and processes of the meaning production in Nezami’s Khosrow-va- Shirin have been considered and analyzed based on Greimas semiotic theory and using the descriptive-analytic method. The purpose of this article is to clear the issue that to what extent the Greimas theory, which is universal and flexible for analyzing a variety of texts, is adaptable to lyrical poems? Moreover, it is discussed that how the[sensory-emotional form affects semantic actant and results in production of the meaning. The results demonstrate that the meaning in lyrical poems is produced in the template of action and l̛état. The narrative of Khosrow-va- Shirin doesn’t follow Greimas proposed patterns for production of the meaning and in this path it is faced with some challenge in which The time actant, along with the temporal segmentation and expectation actant, have leading roles in realization and production of the challenging narrative meanings.

The study of narratives، as the greatest gift of structuralism is considered as one of the most important aspects of the modern literary theory. Following Prop، structuralists attempted to present an overall model in creating different narrative in the 20th century. In this field، A. J. Greimas—the most popular narrative theorist—went beyond the limited studies of Prop، and presented his action model and his narrative chains. By doing so، he attempted to reach to the general principles of the narratives language and to analyze each narrative based on a specific narrative structure. He created his action model in a way that it can be adaptable which other narratives. Therefore، the aim of the present research is to study the narrative structure of Bahram and Gol-andam story، as a sample of the amatory and lyrical poems based on Greimas theory so we can analyze the structure of the original Plot using changes in statuses according to two-fold reciprocities، the narrative chains، and the action model of narratives. after analyzing the context، we concluded that Greimas''s action model in analyzing the narrative of lyric poems of Bahram and Gol-andam is approximately useful and plot of the story has a particular structure and narrative cohesion and is investigate from two viewpoints (two-fold reciprocities and syntactic rules) and from the action viewpoint، it includes two distinct action models with distinct actives which is rarely seen in other narratives.

Love stories as the most important part of lyrical texts comprise a large part of the Persian language and literature. Studies conducted in the field of lyrical literature show that such stories dates as far back as to the start of the Persian poetry and works such as Afarin-nameh by BooshakoorBalkhi, Varqa and Gulshah by Ayooqi, and Vamiq and 'Azra by Unsuri. It is not difficult to gain information on lyrical texts and know the authors of such works, because so many studies have been conducted so far in this regard. Lyrical texts with religious approach are limited, to the extent that in comparison with large number of stories like Leyli and Majnoon, Khosrow and Shirin, Vamiq and 'Azra, and Nel and Daman with only lyrical aspects, there are a few stories like Soleyman and Belqeys and Yoosef and Zuleykha. The present paper studies a lyrical text written during Safavid time; a work that is unique and distinguished in nature. It is a rare of concurrence of religion and lyrical works; a love story with a totally religious theme. In addition to discussion the lyrical aspects of Uraynab love story in Praising Karbala poetry by ZakiMashhadi, this study attempts to analyze different aspects of the said work and compare them with the historical story of IbnQutaybahDinvari.