جستجوی مقالات مرتبط با کلیدواژه « rumi s masnavi » در نشریات گروه « ادبیات و زبان ها »

In most of the researches conducted on the Masnavi, the features of Maulavi's language style have been less criticized and analyzed grammatically. In this article, the use of various letters in the Masnavi has been investigated based on the coordinates of the Khorasani style from a linguistic point of view. The main question of the research is, what are the most important stylistic features of Rumi regarding the use of different letters in Masnavi? The method of collecting information in this article is based on library studies and the research is done in a descriptive-analytical way. The findings indicate that Masnavi-Manavi is a very rich work with extraordinary lexical diversity in terms of grammatical features; So, in this research, it is tried to analyze the style and structure of all types of letters in Masnavi. The result of the research shows that Maulvi has provided the language prominence with the unconventional uses of letters in different morphological and syntactic levels and as a result the double influence of Masnavi on the audience.

The two terms, “faith” and “belief”, due to their common semantic field and widespread usage, are used interchangeably, without clear conceptual boundaries between them, not only among ordinary people, but also among elites, such as some poets and writers. However, they exhibit significant distinctions in their true meanings and concepts. In this regard, “faith holders” and “believers” have obvious differences in their perception of God and the way of communicating with Him, the way of perceiving and interacting with existence, as well as their perception of religion and religious experiences. In contrast to many poets inclined towards mysticism and gnosis who often did not perceive a distinction between faith and belief, Rumi, similar to most of the mystic Muslim intellectuals, places “faith” and “disbelief” in opposition and explicates their origin, causes of creation, and their impacts. In fact, he separates his path from the mystical poets preceding him. In Rumi's intellectual framework, which is similar to the views of philosophers such as Kierkegaard, faith is a fluid and ever-evolving matter, while belief is something fixed and static. Consequently, faith is an unlimited affair stemming from an individual’s experiential inclination towards God and is attained through the spiritual journey of the self. On the other hand, belief is established in community and society, evolving through various means such as individuals, books, documents, and exoteric developments. Faith belongs to the impossible, while belief belongs to the possible affairs. Believers are dogmatic and antagonistic, fearing that others challenge their convictions. However, faith holders are tolerant. Those in faith are always in an endless relationship with God and continue this relationship in love, while others have a transactional relationship with God, viewing their religion as a means to achieve worldly and otherworldly desires.

Intercession is an interpretive, theological issue and one of the pillars of Islamic beliefs. Inspired by the verses of the Qur'an, Muslims have accepted the principle of intercession and mediation between divine prophets and saints and God Almighty and the people. By consensus, the prophethood of the prophets and saints on the Day of Judgment has been agreed upon by all Islamic religions; The present article, while explaining the concept, nature and scope of intercession in the monotheistic and Maadi system, after explaining the Quranic documents and the position of different theological schools on the subject of intercession, has examined the views of Ghazali and Rumi in Masnavi. Looking at the Masnavi, it becomes clear that the scope of Rumi for intercession is wider than the beliefs of most thinkers in the Islamic world; The Asharites and Mutazilites consider the Prophet of Islam (PBUH) as an intercessor and have not offered a specific theory about other Shafi'is. The Mutazilites consider intercession to increase the blessings of the believers in Paradise; Every prophet is the intercessor of his nation. But from Rumi's monotheistic point of view, the Almighty has mercy on his wrath, and God's standard in creation and resurrection is mercy and benevolence.

The current research is a comparative and interdisciplinary analysis of the concept of responsibility in Austrian psychiatrist, Viktor Frankl’s theory of logotherapy, and Rumi, a famous Iranian poet and mystic. In Logotherapy, freedom of will and responsibility are intertwined and indicative of humanity. According to Frankl, recognizing one's responsibility is one way to discover the meaning of life. Rumi also considers responsibility as the foundation of life and guides people to act responsibly in this world and for the hereafter. Similar to Frankl, he considers us responsible to God, ourselves, others, in situations and in our destiny and warns against projection. The present research draws on a descriptive-analytical method to compare and contrast the views of these two thinkers on the concept of responsibility. In other words, the paper is a comparative study of a prominent psychological theory with Rumi's mystical-educational views. The results of the research show that the sources from which the same doctrine initiates in these two thinkers are different. Frankl deals with the concept of responsibility from the stand point of existentialist psychology, and Rumi does so, from the perspective of Quranic teachings and Islamic mysticism. Frankel believes in discovering a unique responsibility in regard to all aspects of life. Rumi, on the other hand, believes in each person’s specific responsibilities as well as fundamental human responsibilities. According to Frankl, every human being is responsible for his/her choices in this world; however, in Rumi's view, one's responsibility for his/her actions is not limited to the life in this world; one's actions determine one's state of reward and punishment in the afterlife. Frankel considers evasion of responsibility as a result of the inability to discover meaning, while Rumi considers it as a result of the mastery of carnal desires and a root cause many immoralities.

A large part of the impressiveness of Rumi’s words is related to his manner of expression and syntax of his words, most of which are still hidden. To discover these beauties, there is no other way than a detailed analysis of his discourse. In the present study, the authors analyzed one of the factors of text coherence by examining the frequency and syntactic function of simple and compound sentences in Masnavi. This research is based on 1372 verses of the first book of Masnavi and uses statistical methods of structural analysis and classification of sentences. From this study, remarkable results were obtained regarding the close relationship between the content of the text and its sentence structure. The results indicated that the frequency of compound sentences is more than simple sentences, and among different types of compound sentences, those consisting of “main clause + subordinate clause” pattern have a higher frequency. This style of Masnavi wording contributes to the coherence of the text and paves the way for Masnavi to make good teaching material. Additionally, it was found that Rumi actively participated his audience in receiving the meaning of the compound sentences. He sometimes removed the conjunction from the structure of the sentence and allowed the reader to select the appropriate conjunction based on the selection of each of the main or subordinate clauses. In the complex compound sentences, a sentence has both main or subordinate roles at the same time, which means that based on its preceding or following sentence, the role of the sentence changes.

In the field of Persian culture and literature, women have seen various and sometimes contradictory symbols and symbols. The transformation of this element according to the views of poets and writers, has led to the transformation of literary beliefs and texts and in some ways has led to intertextual relations with the works and ideas of others. The purpose of this is that in addition to the positive roles of women, other symbolic elements such as: cunning, lust, intellect, etc. have played a great role in revealing negative mental allegories.The authors of this study have found Masnavi allegories about women in two different positions and based on more coherent concepts. This research has been done by descriptive-analytical method and by examining the allegorical roles of women in Masnavi Manavi.Based on this research, it is clear that in addition to the positive roles of women, other symbolic elements such as: cunning, lust, intellect, etc. have played a great role in revealing negative mental allegories that Rumi used as an allegory to express his intentions. And used the understanding of his point of view.The authors of this study have found Masnavi allegories about women in two different positions and based on more coherent concepts

In examining the elements of the story, character is an element that has a great impact on other elements. The present study is "Analysis and adaptation of the personalities of the companions and elders in the narrations of Masnavi and its references based on the theory of the Raymonds" which has been done by using library resources in a descriptive-analytical manner. In the dimension of personality, Rumi uses the types of characters of the companions and elders in accordance with the type of story and its message, and the characters appear in Masnavi according to modern definitions. The purpose of this study is to identify Rumi's abilities in characterization of stories related to elders and companions according to new techniques of characterization and storytelling.Rumi is not very faithful to the sources in characterizing the stories of the elders and companions and telling the details of the anecdotes, and he has made changes in the sub-narrations according to the context of the words and the explanation of his mental intentions. The narrator of Masnavi narrations has used the tools of characterization in the best way in the form of dialogue, description and action to reflect the characteristics of the characters of mystics and companions, and usually in this regard, he has used all three direct, indirect and combined methods. Is. Indirect method, especially the element of speech and action, both habitual and non-habitual, is more applicable.

The Masnavi Ma'navi is one of the most outstanding works of Persian literature in which many manifestations of our culture are featured. The origin of some Masnavi's anecdotes is in verbal literature, which has appeared in literary works for a long time. The expression of contemporary verbal narrations adapted from some of the Masnavi's anticathodes represents the repetitive stories which have been frequently recited in our literature and culture. The transformation of Manavi's stories in verbal literature is a matter for which studies have not been yet conducted by scholars. The difference in the form and structure of the stories, the clear change in the characters and the different interpretations are some of the transformations that have distinguished the verbal narrations and the narrations of Masnavi. The three anecdotes that have been selected as the basis for the work for exhibiting the transformation between the stories of Masnavi and the verbal narrations are: Three Travelers: a Moslem, a Christian, and a Jew, Nakhjirans' Reliance, and the Fool Who Trusted the Bear. The data indicate that Rumi presents many high mystical concepts in the form of narrations and textual codes, but most of the verbal narrations are presented for entertainment. Also, the verbal narrations tend to be reasoning-based ethics, whereas Masnavi's anecdotes are Rumi's specific individual ethics

Rumi's Masnavi is one of the most thought-provoking mystical-fiction poems in Persian in terms of form and content, which, despite belonging to the seventh century AH, is still very attractive among thinkers and writers. In this system in which Islamic mysticism has been analyzed and explained using short and long and sometimes nested anecdotes and allegories, a variety of satires have been used extensively to the extent that this system has been analyzed due to analysis. One by one, the stories and the full use of all kinds of fictional and situational satires can be considered as one of the unrivaled books in the field of literature and mysticism. Rumi's tendency to these two types of satire, and to a lesser extent to linguistic and literary satire, is not done with the intention of satire, like other poets. Believing in the goodness of the system of creation and the wisdom of the creation of all the phenomena of existence, he depicts the biological and social realities with a kind of natural behavior, far from any intention, and following this behavior, Humor, which is part of the daily actions of human beings in everyday life, also enters his narratives. In other words, Rumi in Masnavi because of his realistic view of man and society and avoiding the myths of jinn and magic and choosing relatively ordinary stories from the world of humans with which humor is also mixed with Sufi teachings And theoretical mysticism gives as much practical and believable aspect as possible and also proves that the nature of life is always intertwined with a set of natural satires that language and literature have little role in their creation.

By composing Masnavi, Rumi seeks to cure human psyche and reduce their pain. He turns to the growth and education of man and the exaltation of his soul in various ways, among which his three important and practical methods are story therapy, suffering therapy and community therapy. Story therapy is one of his basic methods. He treats the patient by telling stories and allegories and finds a solution for his mental health. The main purpose of his stories is to guide man towards spirituality and perfection. He also considers suffering necessary to purify the soul and purity within. In his view, God's absolute grace to test and afflict man hurts him. He also considers the presence in the monastery and the gathering of seekers and elders necessary for human growth and perfection. The purpose of this study is to investigate the different dimensions of Rumi's treatment methods in the first book of Masnavi.

The research method of this article is descriptive and analytical and based on library studies.

Religious literary texts inspired by religious worldview and influencing both cognitive and emotional domains of their audience can have many applications. Masnavi is one of the most significant and efficient Persian mystical texts in this field.

Narration of the story, acceptance of suffering and meaning for it, and presence in the monastery are among the psychotherapy techniques in the spiritual Masnavi. Rumi is one of the greatest thinkers by psychotherapists who can benefit from his views and ideas in this field by cultivating the principles of Sufism and Sufism and using it to treat human spiritual pain.

At the beginning of the Masnavi, Rumi describes the mystical thirst for the separation of the spiritual soul from its origin with the sorrowful language of the reed, with the heartfelt melody and sincere sighs of the reed. This letter is an excerpt from the six books of the spiritual Masnavi and also an explicit proof of all the poems of this literary and mystical treasure, which paints a picture of separation and mourning from the very beginning. The point to be considered is the meaning of the words "anecdote" and "complaint" in the first verse of Masnavi, which has been described by several commentators and each of them has had a specific interpretation of it. This article intends to evaluate and critique some of the meanings proposed by a number of commentators by descriptive-analytical method and in proving the alleged meanings and concepts, the subject is divided into two axes: the vertical context of the letter and the proportional and contradictory context of the word. Discuss and analyze with mystical houses, valleys and authorities. The results of the research indicate that the mystical topics in any literary work, including the spiritual Masnavi, are so extensive and rich in content that everyone can understand it to the best of their knowledge. The concept of "complaint" in the letter is not a protest complaint expressed by some commentators, but "disgust" of separation, "description of the pain of longing" and "lamentation" and romantic prayers that Rumi in the vertical axis of its poetry. Has decrypted.

Rumi's neology ability is unparalleled, as some evidence of which is demonstrated in this paper.  In this study, we investigate Rumi’s coinage, focusing on compound words. Using an analytical-descriptive approach, we studied every verse in three books of Masnavi, identifying all original coinages and novel constructions. To make sure that the identified words were unprecedented and true coinages, they were searched in dictionaries and other databases. Rumi's word coinage has already attracted some scholars’ attention (see Zarrinkoob, 1383; Sotoudeh, 1376). Hassani Ranjbar and Al-Sadat (1395) examined Rumi’s use of creative lexical units. Similarly, Maryam Blori theorized lexical innovations in Rumi’s work. compounding is the main coinage strategy used by Rumi. Likewise, it is the most frequent word-formation process in Persian, as more than 70% of new words created by the Iranian Language Academy are created using compounding (Tabatabyi, 1386). Therefore, this area merits further research.  The two most common lexical compounds in Persian lexical bundles combining two nouns or a noun with an adjective. Some of Rumi's coined lexical compounds are as follows: "Chonibakhsh", "Omidlis", "Fanaja", "Stiz Fel", "Abandish", "Saqr Parvardgan", "Soleimanikon". Concerning the latter type, the compound noun-adjective construction is formed by combining a variable component (adjective) and a fixed component (noun). These combinations are very generative and diverse, in the sense that they can be drawn upon to create further similar lexical units. The structure of this type of compound is as follows: Variable word (adjective) + fixed word (Kish) =: Composite adjective :⇒ Andishekish (Rumi, 1373: Volume 4 / 765) Variable word (noun) + Fixed word (objective adjective) =Composite adjective:⇒ "Narzadeh"(Rumi, 1377: 603) Variable word (noun/ prefix/ adjective) + Fixed word (noun here Del+ Plural sign) =Plural adjective⇒ Sagdelan (Rumi, Volume 2, 405( The variable word (noun, adjective) + the fixed word (the root of the verb plus the infinitive) = infinitive⇒ Eshghparvari. (Rumi, 1998: 730) Variable word (noun) + Fixed word (noun) =Composite adjective⇒ Sabrkho (Rumi, 1373: Volume 3/1850) Variable word (noun) + Fixed word (Angiz/ adjectives) = Composite adjective⇒ Zafarangiz (Rumi, 1373: Volume 1/3989) Variable word (noun) + Fixed word (Afkan The immutable component of the verb) = Composite adjective⇒ Kesadafkan (same, Volume4 / 1095) Variable word (adjective / noun) +Fixed word )Row + component of the verb)= Compound adjective ⇒ Eshghamizrow ((same, Volume1 / 768) Descriptive and additional combinations are another important compounding element in Rumi's works. Here are some of the rare compositions of Masnavi: "Hayatistan Bichun", "Chunibakhsh", "Shir-e-Saidavardehi" and "Hasti Bal-Ashkan", "Balayayat" (Balayat To), "Dig-e Dolatba", .. The important conclusion to draw from the findings is Persian has rich potential for generating new lexical units utilizing its already existing repertoire of words. Given Rumi's orientation towards Sufism and his need to express mystical concepts, he took proper advantage of this potential of Persian.  Some unique contributions of this study are as follows. The derived lexical coinages are discussed here for the first time. Secondary, in terms of rhetoric, Rumi's coining strategies are diverse. He may create a noun or a gerund from a preposition or use an adjective in an object position. Occasionally, Rumi builds a new lexical compound by dropping a connective letter or creating a gerund or an adjective from certain nouns. Finally, he may at times use a locative suffix with a content word, clip a noun phrase or and create a gerund from an adjective.

One of the most challenging topics in mystical education is the need of the seeker for a teacher and its necessity in mystical behavior, but the great mystics for some reason have refused to provide scientific and argumentative discussion in this field. Despite the importance of the issue, the functions a teacher can have in training the seeker have not been sufficiently explained and analyzed. Among Muslim mystics, Jalaluddin Mohammad Rumi, by accepting the principle of master-centeredness in conduct, has given a mystical explanation of the dimensions of such issue. In the present study, an attempt has been made to extract more than sixty verses related to the issue from different chapters of Masnavi to describe Rumi’s view on the necessity of a teacher in the mystical journey in the cognitive and behavioral dimensions by the descriptive-analytical method and by analyzing the content of verses. Based on the findings of this study, four functions of the teacher in the cognitive dimension, namely, knowing the path and destination, recognizing obstacles, diagnosing detective and intuitive events, and recognizing the difference in seekers’ structure were identified. Also, five functions in the behavioral field, namely, the care for promotion to higher levels, speeding up and facilitating the journey, the effect of the teacher’s inner guardianship, removing obstacles, and eliminating possible harms due to the absence of a teacher were categorized. Based on the results of this study, it is impossible to achieve all such factors according to Rumi without the guidance and support of a teacher.

'Analogy' is used as a means or means of knowledge of principles and logic to substantiate or affirm a sentence in the domain of conveying concepts, cognition, and knowledge. Rumi, instead of Mathnawi, strongly opposes the "principle of analogy" and regards its use as cognitive-perceptual error, but in his stories, in order to establish and prove theories, he considers it logical, albeit based on a unique method which In its kind of address, it disrupts its rational proportion and its perverse order. This article examines the appropriateness of Rumi's reasoning in the allegorical story of "Lion and Nakhjiran" and concludes that Rumi, with a great deal of inference, disrupts the full fit of the common cause between Cobra and the result, and sometimes in the middle of the story. In so doing the conditions make logical inference or formality, cobra and inferiority, and in the meantime keep, where necessary, a number of elements of the analogy in the scope of the allegory.

It is not enough to have an opinion and an idea to express the contents and purposes; Rather, in order to cultivate meanings and content, one must look for ways and means of expressing that opinion and idea. There are ways and means to cultivate content and intentions, and the author chooses one or more of those ways to cultivate meanings according to his or her own needs and tastes. Rumi has also used these methods in Masnavi to cultivate the contents and meanings, design, explanation and persuasion of the audience. The present study has studied this issue in a descriptive-analytical way in Masnavi and seeks to answer the question of what methods did Rumi use in Masnavi to cultivate the content and how is it used? The results of the research indicate that Rumi has used various methods to cultivate his desired content and ideas in Masnavi, including: definition, description, argument, study of causes and results, comparison, classification, Conversation, debate.

Love is the motive of the universe and the foundation and basis of creation, while being present in all the particles of the universe, through which all creatures are moving towards God. Love has different forms, manifesting in the universe in two ways: real and virtual. True love is just for God, and sufficient for Him who is the origin of all manifestations of the universe, and virtual love is for what is non-God, i.e., love for manifestations of existence and the universe. In the works of Nizami and Rumi, love is a key element that should be given certain attention. This study is aimed at explaining true love in Khamsa of Nizami and Masnavi of Rumi and to do so, content analysis method has been used to investigate the types of love, the difference between true and virtual love, as well as the relationship between virtual love and true love. Based on the results, there are some commonalities between the attributes considered by these two poets for love. The importance of this research is that it expresses the viewpoints of these two valuable lecturers (poets) on love and shows that both Rumi and Nizami believe in love as a current and sublime truth in the universe and the unity factor of the universe. They believe that the true love belongs to God and that virtual love is a means of reaching true love.

Rumi opposes the methodology of "principled analogy" in Masnavi's place and uses it as a cognitive-perceptual error, but in fact, in his stories, he believes in the kind of logical reasoning to prove and justify the theories, however, based on a unique method that is in the type of the word It has its own logical proportions and its discipline. This article reviews the appropriateness of Rumi's allegory in the allegorical story of "Lion and Nakhjiran" and then examines his approach to the theory of "types of rationality" and concludes that Rumi's influence on psychological states and human intellectual virtues He considers it effective in his style of reasoning. Although such a method is banished within the framework of Aristotelian logic and even new logic derived from the analytic tradition, today's approaches to rationality consider such a method inevitable, prevalent and current, because reasoning and authority are fundamentally present in such a world and in real life. A politician follows, so one can claim that Rumi was not unaware of the subtle truth.

Essential sentences are one of the important topics in Rhetorical figures are divided into demand and non-demanding. non-declarative sentences include propositions of command and prohibition, question, wish, and prayer. According to the threefold principle; Appropriate to the audience and his position and the purpose of the author, sometimes non-declarative sentences deviate from their grammatical appearance and the meaning of their meaningrhetorical function- becomes striking. By examining the cognitive meaning of these propositions, hidden layers of language can be discovered. Because conversation is the key to communication, in this research, inventive sentences are analyzed in the dialogues and storytelling of Musa in Rumi's Masnavi. Rumi makes great use of the persuasive and mpathetic functions of language to achieve its goalpersuasion and motivation of the audience - through rhetoric and pulpit. Most examples of this persuasion are evidenced in command and call and question sentences.

The purpose of this paper is to study the usage of amphibology of proportion and analyze its constructing components in Rumi’s Masnavi. The results of this study, conducted with a content analysis approach, show that, Mowlavi, despite relying on improvisation for writing Masnavi and being affected by the flowing string of words and the creation of meanings and thoughts, in his congregations, has depended on his knowledge of different sciences to apply elegance and precision regarding literary devices, especially amphibology of proportion and other similar devices, including amphibologies of allusion, antonymy, translation, and association. He has managed to create proportions that are in close relation to different fields, more closely to domains like music, astronomy, medicine, religious and Quranic issues, and mythical and historical concepts. Mowlavi, based on his attitudes and worldviews, was interested in some of these domains, feeling a sense of belonging toward them, enabling him to use this literary device and create a high volume of meaning.

One of the new approaches taken from linguistics is narratology; it examines the techniques and structure of narratives and thus seeks out the grammar of the narrative. Narration and its application in Persian literature has not much history. One of the greatest storytellers of Persian literature is Rumi; in Mathnawi he used storytelling and narration to achieve his goals and express high concepts. His versatility in applying the precise principles of storytelling techniques and his aristocracy to a variety of storytelling techniques has made Mathnawi a living and enduring world-renowned work. One of these is how to use the element of time in the narrative. One of the scholars who has been discussing the timing of the narrative in recent decades is Gerard French Genet. The purpose of this study is to use the theory of time in the narrative of Genet in three topics: order, continuity and frequency, to analyze the narrative-theological narrative of the parrot and merchant in Mathnawi. The method of this study is analytical-descriptive with narrative approach; also the findings of this study show that Gennett's theory of Genet provides a good model for analyzing Mathnawi stories. Another achievement of this research is the benefit of new approaches to literary criticism and analysis and new knowledge, including narration in the study of classical texts such as Mathnawi.