جستجوی مقالات مرتبط با کلیدواژه "biddle dehlavi" در نشریات گروه "ادبیات و زبان ها"

One of the most critical elements that need attention in the analysis and comparison of the poetry of the two poets is the discussion of external and collateral music of poetry, namely, attention to how another poet influences a poet in terms of meter, rhyme, stanza, and the manner of composing. In this study, through an analytical-descriptive and statistical approach, the extent and manner of the influence of the musical elements of poetry, meter, rhyme, and stanza in the ghazals of Suleiman Babani "Katib," a Persian-speaking Kurdish poet, from the ghazals of Bidil Dehlavi have been investigated. The results indicate that in the realm of external music, the meters of Ramal, Hazaj, and Motakarre have a high frequency in the ghazals of these two poets. The predominant meters are pleasant and abundant. In collateral music (stanza and rhyme), the repetition of the rhyme, the loud vowel "A," and the parallel meter in the rhyme of the ghazals of both poets have a high frequency. Group stanzas, which are complex and unprecedented, are familiar in the ghazals of both poets. Totally, there are 37 common stanzas, which account for 22.55%, and 18 common stanzas, with 26.86% in terms of meter, rhyme, and stanza.

The Symbols are applied to all knowledge scopes; mythology, sociology, art and soon. Generally, the symbol is a world or an expression applied in its unreal meaning, which is parallel to image. In literature, the symbol is a verbal image to imagine abstract ideas, personal experiences and supernatural meanings that is imaginative, moving, multi meaning, ambiguous, and interpretable. Transcendental symbol is a sort of literary symbols. Transcendental symbols are types of liferary symbols as if they contain literany images along with their specific characteristics.
The idea in which there is a metaphysical world other than our world, at least belongs to the age of Plato, who called such a metaphysical world the ideal world. So, he calls our ekisting world as a shadow of the "ideal" world. Such symbols ambiguously represent the connection of shining radiation of soul with divine light. The poet provides his transcendental symbol and comes across the ideal world through the reality which is a world that human wishes to touch.
and all universal phenomena are solely the incomplete representation of such a world.
various types of such symbols are used in dehlavi's sonnets. He has used this imagination. and his thoughts through transcendental symbols for special personal and historical conditions and he tries to use symbols as near to these own personal realities and this imaginative world as possible. Actually transcendental symbols are not perceivable by enaryone. The concept of these symboly is highly related to their application area. such symbols get more concept in connection with the subject of their emergence. we are going to investigate the background of transcendental symbols in Dehlavi's sonnets in this research so that to study the connection of transcendental symbol with poet's thoughts, historical conditions and sacial canditing and we are going to clarify how transendental symbol works.
So, the following questions are answered,
A) what kind of transcondtal symbols is in Bidel's sonnets?
B) what is the relationship between personal Thought and transcendental
Symbols?
c) what is the relationship between social and historical
backgrounds and transcendental symbols?

This study is a sont of qualitative studies and tries to opent newharixons to these who are interested in literature and those liferary readers by the use of content analysis method and by
the aim of study and analysis of Transcendental symbols.

Transcendental symbols have an important factor of symbolic language which refers to something of unknown and abstract world. The reality and the metaphysical world and the mysteries searched beyond the transcendental symbols are not percievable mentaly and consciously. In trant scendental view, pure knowledge is known through insight, so the superiority of insight on knowledge is a transcendental notif Transcendentalist tends to develop his thoughts and his inner perceptions on subjective appearances of the tangible world. Eeach a phenomonon in nature represents specific aspect of supreme truth and because the aspect is also inside humanbeing, hence it causes enthusiasm to return to the world of idea Transcendental symbols have substantial communication with plato's opinions. Iranian gnasticism is also influenced by such opinions, so we can give another neme to transcendental symbols as gnostic symbols but this sublime view might have not any connection with Iranien classical sufism sometimes the transcendentalist is a gnostic who finds the trath by religion and rule of life "The tendency towards the nature is accompanied with introversion" (radfar, 1389:59). The world of divinity decends to natural and worldly phenomena and is searched in natural aspects. The main foundation of Bidel throughout his poetical work and sonnets is the thought of the unity of existence, hence, symbols like Sun" "light", and "sea" are frequently used.
"Sun" is a transcendental symbol and contains a spiritual and divine concept. Based on the priciple of opposition, those positive and glorious aspects which are opposed to negative and demeaned aspects of dusty ground can be connected to the vast sea denotations.
One of the most frequent symbols in Biddle's sonnets is the "mirror" symbol, which is "a symbol for the divine thought and reflects the manifestation, the manifestation that he has created in his own form." This manifestation, similarity and difference in the mirror is the source of Azra'ili's descent, and Claire is the end of a very high spiritual experience "(Shavalieh, 2009, vol. 1: 399)" The mirror "is truth and self-knowledge. The supernatural reflection, the clear and shining surface of the divine truth, is the mirror of the symbol of man's knowledge of himself. In Biddle's thought, the Imam is the mirror in which you see yourself, because you are his mirror, the world is the mirror of God and man is the mirror of the world. So he will understand the inside of the mirror, that is, the inside of the enlightened truth and intellect. Another common transcendental symbol in Biddle Dehlavi's sonnets is "Homa". «Homa: Homayoun. Homay, meaning auspicious and blessed. Hu-mayā and hu-mâyâ are used in the same sense in Avesta, next to humâk, the word is basically an adjective eagle. In the culture of Shahnameh, Wolff has translated Homay into adler (eagle) ”(Burkhart, 1997: 6 236) Sentence: Farr and Bliss have thought that this has increased the symbolic ability of this motif. Homa, first of all, like any other bird, instills the idea of flight in the poet's mind. The attribute of Homa's ambition is a manifestation of the supremacy of the poet's subconscious mind, which is a symbol of flight combined with transcendental concepts. Huma is a transcendent symbol and speaks of Biddle's independence and longevity.

In this article, the origin, nature and function of transcendental symbols in Biddle Dehlavi's lyric poems were examined. Due to the ambiguity created by the transcendental symbols in the poem, an attempt was made to remove as much ambiguity from Bidel Dehlavi's poem as possible by interpreting these symbols. In addition to the content analysis of transcendental symbols, the aesthetics of these symbols was also one of the objectives of this study that was considered. Also the common transcendental symbols in Biddle's sonnets, according to their frequency; Elements of nature, birds and objects were classified into three groups. The results of the research indicate that transcendental thoughts in Biddle Dehlavi's lyric poems, many images appear in a contradictory situation with each other. Transcendence in his sonnets has a carnal and mystical character and he speaks of purifying the soul and heart and removing the evils of the soul from morals and moral vices in order to reach the ascension, superior life, truth and existence of God. Feeling lonely and trapped in the prison of the perceptible world and its problems, causes him anxiety and intensifies his desire for transcendence. This causes the poet to cultivate the dream of having wings and feathers in his imagination and the light of the morning is clear to get rid of this narrow field. Wings, feathers and flight embody Biddle's imagination. The wing symbolizes spirituality, the power of imagination and spiritual ascent. The two birds of Homa and Simorgh, through their wings, find the ability to fly and purify their souls from the ugliness of the earthly world in order to open their way to the wide world. Simorgh with its spiritual and sacred aspect, when Biddle speaks of solitude and withdrawal from the ugliness of the earth, along with Homa and Shahbaz, all three are considered transcendent symbols and the story of eagerness to ascend. They do.

 In the view of Biddle Dehlavi and Sohrab Sepehri, there is an absolute truth and all natural phenomena of the material world are the manifestation of the same truth. The spiritual world and the supreme truth that the poet wants to achieve; It is expressed in the form of transcendental symbols. Since the extensive use of these symbols by Biddle Dehlavi and Sohrab Sepehri has made their poetry difficult to understand; The present article aims to remove some of the ambiguities in the poetry of these two poets, the transcendental symbols in Biddle"s lyric poetry collection and the collection of Sepehri poems that have a transcendental aspect; Examines. In addition to content analysis, the aesthetics of these symbols is also one of the goals of the present study.

 This research is based on descriptive-analytical method.

 The transcendental symbols in Biddle"s lyric poems and Sepehri"s poetry are rooted in nature. In this way, nature and its manifestations lead to the absolute truth (God) and lead us to theology.

 Biddle"s transcendental ideas in the Divan of Ghazals are such that many images are created in contradictory situations. Transcendence in his sonnets has a carnal and mystical character and he speaks of purifying the soul and heart and removing the evils of the soul from morals and moral vices in order to reach the ascension, superior life, truth and existence of God. Sepehri, on the other hand, has an inner view of God, just as God placed himself among the romantics as a heart and inner need, and they turned to religion from an artistic point of view. Is approaching.

Delicate imageries, content creations and innovative illustrations in Abdol Ghader Biddle Dehlavi's sonnets, make the readers face with a kind of surprise, ambiguity and complexity of expression. He is skilled and fully-representative of Indian style in creating complex novel images, interwoven and, ambiguous at the same time. Most of images in his poems reflect a scene or situation. In a way, sensually and tangibly or mentally and sensibly, which is formed by the poet 's special use of words and expressions. How to illustrate and how to reflect images in Biddle dehlavi 's poetry is the main question of this research paper. This article which is done by descriptive method and content analysis, shows three various ways of using Biddle 's poetry images in terms of imitating former eminent masters and ambiguity and culture of images can be seen: A: Images of Saadi and Hafez ' poems; simple and well-crafted images that are formed in the service of embodying the concept and envoking meaning. B: Images of Nezami and Khaghani 's poems; in such poems, in addition to the central and main images; it sometimes carries the meaning of the verse, the poet also creates several complex and intertwined images for artistic ambiguity in poetry. C: Biddle 's special 's images; complex and layered images that sometimes push poetry to the point of meaninglessness, such images, which are considered to be Biddle 's poetic identity, are usually less used in his lyric poems.

Biddle Dehlavi is a Persian mystic and poet of Indian style and brought up in the Indian subcontinent. He had a special view and expression on various issues. The purpose of this article is to study his style and level of thought and it wants to analyze the salient features of Biddle's style of thinking about the perfect man and find out whether his attitude is influenced by Islamic mysticism or Indian mysticism and what is the difference between his view and Indian mysticism in explaining the perfect man?

In this research, Biddle's poetry and thoughts are studied from the perspective of intellectual stylistics with descriptive-analytical method and library tools. The four main axes of Biddle's thoughts are: Anthropology in Biddle's thought, Man as the cause of creation, Muhammadiah truth, Man's perfection in Biddle's thought and Indian mysticism.

Biddle Dehlavi, although he was brought up in India and influenced by Hindu mysticism and philosophy, gives a comprehensive and complete definition of man and his characteristics by Islamic mysticism perspective and he has been influenced by Ibn Arabi's thoughts in this regard. The perfect man in Biddle's view is different from the man in Indian mysticism. According to the Buddha, the ultimate goal of man is to attain nirvana (silence) and the status of "Arhat" (perfect man), and his view is also different from that of yoga, which aims to achieve the status of "living freedom". In Biddle's view, the perfect human being is the complete mirror of God, the summary of the nobility and the best of the horizons, that is, the Prophet of Islam (PBUH). Biddle considers the purpose of creation to be the holy existence of the Prophet Muhammad (PBUH).

One of the main themes in Biddle's intellectual level is the theory of the perfect man. In Biddle's view, man is a perfectionist being who can attain perfection through self-knowledge. In following these stages: self-knowledge, voluntary death and self-control, dignity, patience, trust in God and submission, and satisfaction play a special role in man's attainment of perfection. Biddle Dehlavi grew up in India, at the center of Indian philosophical thought and mystical schools. In this geographical space, the main source of his thoughts, in addition to Islamic sources, has been the study of Upanishads and Indian mysticism, but still his theory of the perfect man is Islamic and Ibn Arabi-like.

all kinds of artistic and literary creations of human related to gether in every period. In a comparative analysis of the artistic and literary creation of man in a period, the same stylistic features can be achieved. The extraction of common stylistic features Between different types of arts needs to Precision tools that examine all kinds of artistic and literary creations. The study of the performance of the two processes of selection and composition on the syntagmatic axis and paradigmatic axis is a tool that provides a comparative study of the style of all literary and artistic texts for the Researcher. In this paper, how the selection and composition the signals on the syntagmatic axis and paradigmatic axis in the poetry of famous poet of style known as Hindi, "Bidel Dehlavi" along with the Miniatures of the Gurkani Artists, is examined to extract Their common stylistic features from the perspective of Linguistics. The results of this study indicate the parallel functionof two selection and composition processes in frequency close to each other that the application of these two processes together lead to complications in Bidel poetry and Miniatures of the Gurkani Artists. In other words, just as Bidel has enunciated the ghazals, whose understanding of each bit depends on the reader's thinking and access to the poet's choices from the syntagmatic axis, the understanding of the meaning of the components used in the miniatures also also need access to the symbolic concepts Selected from the syntagmatic axis

all kinds of artistic and literary creations of human related to gether in every period. In a comparative analysis of the artistic and literary creation of man in a period, the same stylistic features can be achieved. The extraction of common stylistic features Between different types of arts needs to Precision tools that examine all kinds of artistic and literary creations. The study of the performance of the two processes of selection and composition on the syntagmatic axis and paradigmatic axis is a tool that provides a comparative study of the style of all literary and artistic texts for the Researcher. In this paper, how the selection and composition the signals on the syntagmatic axis and paradigmatic axis in the poetry of famous poet of style known as Hindi, "Bidel Dehlavi" along with the Miniatures of the Gurkani Artists, is examined to extract Their common stylistic features from the perspective of Linguistics. The results of this study indicate the parallel functionof two selection and composition processes in frequency close to each other that the application of these two processes together lead to complications in Bidel poetry and Miniatures of the Gurkani Artists. In other words, just as Bidel has enunciated the ghazals, whose understanding of each bit depends on the reader's thinking and access to the poet's choices from the syntagmatic axis, the understanding of the meaning of the components used in the miniatures also also need access to the symbolic concepts Selected from the syntagmatic axis