جستجوی مقالات مرتبط با کلیدواژه « سنایی غزنوی » در نشریات گروه « ادبیات و زبان ها »

Hakim Sanai Ghaznavi is a revolutionary poet in the history of Persian poetry who was at the forefront of innovation when it comes to the forms of Masnavi (couplet poem), ode, and sonnet by introducing new concepts. Sanai’s collection of poems has been revised several times so far, among which we can mention the corrections by Modares-Razavi, Mazaher Mosfa, Shafi'i Kadkani (selection of sonnets and odes), and Jalali Pandri (sonnets). In one of his Ghalandari (wandering Dervish) sonnets, there is a composition that seems to render a more accurate meaning with a different reading of the sonnet. Intratextual signs, as well as the frequency and functions of the new readings in the rest of Sana'i poems, make the new reading more likely. This review study applies a descriptive-analytical method based on the analyses of the critics’ readings of the target composition. Among those who have modified Sanai, Modares Razavi, Mosfa and Shafii Kadakani have come up with similar recordings. Only Jalali Pandri and later Barzegar Khaleghi have proposed the new readings. This means that the collection of poems by Sannai is still in need of review and correction.

One of the types of literature whose various frequencies are found in the works of most Persian-speaking and Arabic-speaking poets, and which have produced remarkable and readable works in this type, is "mystical literature". In this type of literature, poets use code language to express mystical meanings and refer to a special style in poetic formats, especially sonnets. In the arena of Arabic and Persian literature, Ibn Faraz of Egypt and Sana'i of Ghazni are considered to be two famous poets and high-ranking mystics, and lovers of divine love. The current research in the field of comparative literature, based on the American comparative literature school, is trying to investigate the most important commonalities and differences of mystical manifestations in the poems of these two poets with descriptive-analytical method. The results of this research indicate that both poets drank from the water of mysticism and politeness, and in the belief of both of them, the most prominent motivation for transcendence is love, and in the basic issues of mysticism, in addition to love, in other mystical manifestations such as Intellect, existential and intuitive unity, annihilation and mystic symbols also have commonalities with each other. with the difference that Ibn Faraz used the symbol in his poems more than Sana'i. In the discussion of colors, Ibn Faraz has mostly interpreted them as light and dark; But Sana'i has paid more attention to the symbols of colors than Ibn Faraz.

The subject of investigation in this article is the reevaluation of the transformation of the poetry and personality of Sana’i. This research examines the evolution of Sanai’s poetry and personality by analyzing the content of Sanai’s odes (qasidas) and their historical context and admirers. The article demonstrates that contrary to common belief, the reason for Sanai’s departure from Ghazna was not his spiritual transformation towards asceticism and Sufism, but rather his failure to find admirers who could fulfill his material needs. He left Ghazna in search of suitable admirers and since at that time he was not a very famous poet, and the migration of other poets to cities far from Khorasan was not very successful, he decided to stay in Khorsan. However, the requirement for new admirers led to a change in the rhetorical and thematic structure of odes, and this is where Sanai's new role as the initiator of didactic-mystical ode genre began. Sana’i’s poetic character in the field of ode is different from his poetic character in the realm of lyrical literature (ghazal), but the synthesis of these two personas can be found in his masnavi works. Accordingly, Sanai’s role in the transformation of Persian poetry, rather than having an ideological dimension, has a rhetorical dimension. He holds a prominent position in poetic stature more than as a mystic.

The functions of symbolic expression in Sanai's Divan'sThe symbol is the essence of literature and, due to its multidimensional nature, it opens the way to multiple interpretations, and this is the creator of dynamism and consistency in the text. Sanaii who has complained about nugatory capacity of normal language to express his theosophical reflection uses from language capacity symbol correctly to spread his poem and express sacred reflection and mendicancy contents among his successful and influential symbolisms. Although the Sanai poem is the first step in the mystical symbolic poetry in Persian literature, the symbol in the Sanai’s divan has a prominent place. Sanaii is originator of theosophical symbolic poem. His creativity in the symbolism, especially in the domain of Qalandari and mystical symbols, and the combination of elements of different genres after him, is considered by many and accepted by the poets. In this study, by using a descriptive-analytical methodology attempting to made to determine the functions of symbolic expression in the Diwan Sana'i. Based on this analysis it is possible to summarize the functions of the symbol in the Sanai divan in four areas of political-social function,mystical and epistemological work, psychological function, and aesthetic function.

Boasting (Mofakhereh in Persian) as a poetic theme or as a sub-genre has a strong presence in the books of poems of classical Persian poets. Adopting an analytical approach, this research attempted at analyzing ‘boasting’ in poems of Manouchehri Damghani, Sanaei Ghaznavi, and Khaghani Shervani based on Pierre Bourdieu’s field theory. To do so, after extracting instances of their ‘boasting’ odes and considering the historical and social issues of their times and their different habitus and mindsets, we tried to analyze the poems based on Bourdieu’s four literary field principles (habitus, capital, struggle, and disinterestedness). The results showed that Manouchehri, due to his inclination to the power filed, and to make a name and a living and to stabilize his position, used his art and poetry for boasting. He did not observe the principle of disinterestedness in the literary field which attempts at purifying literature from personal intentions. As a result, he was pushed to the margin. But as the power field changed during the second Ghaznavid and Seljuk periods and some new problems and instabilities affected poets’ conditions, poets such as Sanaei and Khaghani distanced themselves from the power field, due to their specific habitus, and attempted at purifying literature and fighting the power field. From the two poets, Khaghani was more successful due to his disinterestedness and observance of the rules of the literary field.

Sanai Ghaznavi is a wise mystic and poet who has the initiative of mystical and wise Persian poetry and has created a new atmosphere in Persian literature and is a kind of epoch maker. Someone who has been able to use the forms of Persian poetry, especially Masnavi and ode in the service of mystical meanings and educational poetry. It is no exaggeration to say that Iranian mystical poetry owes its position and rank to Sanai genius. He is a poet with a clear spirit, who confronts God, man and society not through the religiosity of the congregation, but through his own religion and his own perception. Whereas the poets of his time, usually in the courts, praised the kings and lords of force and gold, and were constant servants of the sultans, and their lives were secured by receiving peace; Sanai, with his unique ideas, has criticized the unhealthy situation of his time. This research has studied and classified the influential intellectual principles in Sanai's poetry and worldview.

Undoubtedly, one of the greatest Persian classical poets who introduced mystical and intuitive themes into the Persian language is Sanai Ghaznavi. By referring to mystical concepts, he also included a large part of the theological and theological themes of his time in his poetry. The Mu'tazilites and the Ash'arites were among the important theological sects under which Sanai was in his poetry. One of the important works of Sanai, which is the manifestation of various theological influences in his womb, is his Masnavi Hadiqah al-Haqiqah. Hadiqah is a work that is influenced both by the theological foundations of the Mu'tazilites and by the theological foundations of the Ash'arite narration. For example, in the matter of seeing, it is close to the views of the Mu'tazilites, and in the matter of the occurrence and step of the divine word to the Ash'arites. Although Sanai scholars have considered him mainly Ash'arite, it is impossible to doubt Sanai's belief in the love of the Ahl al-Bayt (AS), monotheism and Imamate. Of course, it is quite natural that he is in favor of the Ash'arites in many matters. Because he lived in a time when the light of rationalism was fading in the Islamic world and the Ash'arites were the undisputed rulers of the theological world. Therefore, most of the present research focuses on the impact of theological topics such as faith and monotheism, the occurrence and step of the divine word, divine vision, Imamate, evil, good and ugliness of affairs, in the hadigah.

Hadiqat al Haqiqa can be considered as one of the ancient texts of Persian literature; Due to this antiquity, ancient and obsolete words, terms, and combinations have been used in it that some of which have not even been recorded in dictionaries. In addition, due to the mistake of the correctors, misreadings have taken place in the written or corrected texts, which have changed the written form of some of the words and their combinations and removed them from their originality. The necessity of this research is that the words and phrases used in the Hadiqah are among the valuable heritage of Persian language and literature, and the advancement of language and literature will increase the distance between the natives and the works, and such advancement may make it more difficult to discover their correct form. The descriptive-analytical method is used in this research and data collection tools are library resources in which the achievements of other researchers in this field have been spotted and benefited. The main achievement of this research is suggestions for recording some words and compounds in this work that will solve the conceptual problem of some verses.

The history of Persian literature proves that Hadiqat al Haqiqa, immediately after it was written, was met with public acclaim; To the extent that its verses have found their way into the works of Sanai's contemporaries, such as Bahramshahi's Kelileh va Demneh. Researchers' re-approach to the works of Sanai led to three valid academic corrections of this work in the last century: 1. Correction of the late Modarres Razavi, based on the comprehensive script of Hadiqah; 2. Correction of Hosseini (Fakhrinameh), based on a concise script of Hadiqah; 3. Yahaghi and Zarqani's correction, with access to older versions, based on the comprehensive script. Nevertheless, we should not assume that there is no need to correct it; because the misreadings and misconceptions that have led to these corrections are so much that they cannot be easily ignored.  

This research, using library resources, analytical and descriptive methods, has examined the recording of some words and compound words in Hadiqat al Haqiqa. Additionally, the author of the article has adapted some cases with manuscripts. The need to study ancient mystical works, as well as to review and critique the published works on this subject, necessitates further research. The importance of this research is the significant position of Sanai and Hadiqat al Haqiqa in the history of Persian literature, which has been influential in the formation of the mystical current in Persian poetry. Of course, the literary importance of Hadiqah should not be easily overlooked; because the words, combinations, and expressions used in it, due to their lack of use, need more research and recognition. Such is the necessity of this research to highlight similar words and combinations. The research process is such that first, the recorded form of the verse is mentioned in the existing corrections of the Hadiqah, and then, the author's proposed form for recording words and also expressing their meaning will be presented with evidence from Persian literature texts.      

In this research, the correct form of the words and combinations of "mademouyan", "sayesh", "fasi", "chamsh", "takab and takin", "enaz", "tankar", "nikbad" and "nebisandeh" are discussed and finally, it has become clear that some of the inconsistencies in the corrections made from Hadith al-Haqiqah go back to its two different versions, which caused a difference of verses from the verse 3800 (in Khalil Inaljak's version) to 14,000 verses (in Hagia Sophia's version) and this is the reason that has made the explanation of the book very difficult for researchers. It should be noted that when verse or verses are not expressed in their place, the vertical axis of the work will be disrupted, and understanding the meaning of the verses will not be easy. On the other hand, some of the difficulties of Hadiqat al Haqiqa are the result of incorrect correction of verses or incorrect recording of words and compounds, which adds to its ambiguity. However, it should be noted that by approaching the poetic mentality of the poet as well as the language of his time, some of the shortcomings of writing and recording the words and compositions of the Hadiqah can be eliminated. In this study, it was found that the main reasons for misreading and incorrect recording of words and combinations in written or corrected Hadiqah texts include the following:  1. Obsoleteness of words (Sayesh); 2. Use of words and terms of other sciences (Fasi, Tankar); 3. Not reflecting the meaning of the word or composition in its context (enaz, nikbad);  4. Not paying attention to the use of words or combinations in texts close to the time of the poet (mademouyan); 5. Lack of attention to other forms of words (chamsh and nebisandeh).    

One of the floating and disputed concepts in Iranian culture is the concept of “reason" which has a wide and sometimes contradictory meaning, therefore different schools of thought have presented different interpretations of it. In this regard, Sanaei is one of those who has paid attention to the concept of reason in one of the most famous works of Persian literature called Hadiqa-ul-Haqiqah. Although he has given verses describing reason and defending it throughout Hadiqa al-Haqiqah; since the structure of his mind is not aligned with rational logic, the product of his work has been compared to reason. Sana'i's reason is, in general, a religious reason, and it is far away from material aspects to a great extent. This article, which was made with a descriptive analytical method using library sources, aims to examine the concept of reason in "Hadiqah-ul-Haqiqah" by using Schleier Macher's hermeneutic theory.

The high position of Hadiqah al-Haqiqa in Persian literature has led to a lot of research on it; nevertheless, issues such as linguistic complexities, the use of other scientific terms, the obsolescence of the language, historical and religious references, and the irregular structure of the poem have left some of the ambiguities of this work unresolved. In the meantime, one should not be ignorant of a proper correction of Hadiqat al-Haqiqa; a correction that can take into account all aspects of this book and Sanai’s mental geometry, to provide the literary community with a text closest to the author’s. This issue has attracted the attention of contemporary Persian language scholars, hence remarkable studies in the field of correcting or describing the problems of this book have been done in the last century. In this study, the newest correction of Hadiqat al-Haqiqa will be investigated, and its weaknesses will be highlighted using the descriptive-analytical method and library resources. The necessity of the study is the need for both studying Sanai and his works in Persian literature and reviewing their corrections. It seems that in Yahaghi and Zarghani’s correction, using the method of correction in the form of the base manuscript as well as selecting the Manchester manuscript as the base version has resulted in some deficiencies in the corrected text, which will be addressed in this study in four general formats. Also, the concept of certain words, phrases, expressions, and couplets of Hadiqat al-Haqiqa will be clarified.

Any misinterpretation of the word or combination by the scribe and "correction" can lead to semantic ambiguity of the text, and it makes it difficult for the audience to understand the meaning of the poem. In addition, writing descriptions and suspensions on these inaccurate recordings leads to a more sophisticated concept of verses. The effect of these issues on correcting a text is multiplied when the book is corrected from ancient Persian literature, and the use of inappropriate and sometimes derogatory words is used. This claim can be traced back to Sana'i's Hadiqat al-Haqiqa; text that is difficult in itself, and various books and corrections have added to its difficulty, as far as can be seen in the corrected texts, the recorded form of some verses does not provide a clear meaning. This study seeks to highlight the inaccurate recording of some of the verses of this poem by using ancient manuscripts in a descriptive-analytical manner. The most important achievement of the research is suggestions for correctly recording or correctly reading some of the words, combinations and verses in the Sana'i Hadiqat al-Haqiqa, whereby the conceptual node of the verses in question will be resolved.

Among the works of Ghaznavi Hadiqeh al-Hagiqah and Shriya al-Tariqah, there is a significant feature of the theme; a variety of stories, sets of themes, and references and applications are presented to the audience. Al-Hagiqa is a poem that has influenced many poets. With the compilation of this system, Sanai opened up a new Bible in mystical verses in the history of literature and mysticism. The great poets such as Khaghani and Military, respectively, dowload the al-Iraqiqin and the reservoir of al-Asrar under the direct influence of this poem, and years later, Attar and Maulana evolved into the reign of mystical masnavi. Among these symbols, the application of elements of the material, especially plants, is noteworthy. Some of these herbs are symbols, which are not only an effect on their effects, which are manifest among cymerolls. The authors of this paper, which have been written in a documentary and a book, have studied the applications of such as Banafsheh, , Saffron, Chamran, Susan, Seyzanbar, Wheat, Laleh, Narcissus and Nilevfr. The result obtained from this study is that the Sanai in the Hediqeh al-Hagiqah and Sharia Like other works, he has used his masterpiece to express the best of mysticism and mysticism.

Hakim Sanāyi Qaznavi (d. 532 AH) who is one of the most influential thinkers and poets of didactic Sufi poetry has always been followed by other poets and mystics of Iran. This paper aims at making a comprehensive study of his Hadiqah and Divān and also intends to explain his opinions about the questions of transcendence or immanence, eternality and contingency, and whether divine Names and attributes are fixed or not and God's intention of creating the universe. The researchers have attempted to compare these opinions with those of other famous theological sects. Therefore, at first the views of the leaders of the Asharites, Mutazilites, Matoridites, Karrāmits, and 12-Imam Shiites were presented on these issues and then Sanāyi's opinion was analyzed and classified accordingly. This study shows that Sanāyi has used Islamic texts and rational teachings of his era to prove his claims. He has adopted a transcendent and even a negative approach in theology and his positions, contrary to the current views, have been different from those of the Asharites, Karāmits, and adherents of hadith, and have been in harmony with those of the Mutazilites, Mātoridites, and Shiites.

Sanaei Ghaznavi is one of the famous poets in sixth A.H. He is one of the pioneers of mystical poetry. We find the mystical concepts and terms and Quranic expressions in Persian poetry in his divan for the first time. Divine names and attributes are the important elements in his divan. This research aims to investigate the manifestation of the Divine names and attributes from linguistics and lexical perspectives. Sanaei sometimes employs Divine names and attributes in accordance to miracles, narratives and prays and sometimes he uses Persian equivalent for them. The other part of this research contains mystical and love poems and names and attributes like beloved, friend, sweetheart and etc refered to the God.

Eschatology is a dominant theme in Sanā''ī Ghaznavi’s Seir al-Ebād and Abul ʿAla Al-Maʿarri’s Risālat al-ghufrān - two works from the world of Islam in which the narrative structure is based on the journey of the soul. This study examines the concept of eschatology and briefly deals with the beliefs of different cultures and religions. It then proceeds with the study of three aspects of eschatology in the two mentioned works. The study includes eschatology in the narrative structure of the works، eschatological symbols، and ideological beliefs underlying the notion of eschatology.

Sanaei poet of Persian literature, including the works of notable poets worthy of consideration is the quantity and quality aspects. Among the works of this poet, poetry and elegance of her precious special facetiae the various themes of the literary intellectual, linguistic diversity and strong position. Promote the teaching of asceticism and mysticism, is also a main theme in the work of Sanaei. Condemn the world, death, thinking, recommended to break the limitless aspirations, promote contentment and self-seeking Gay craft, attempting to boil the essence of the real man, his common themes.

Mysticism has always played an important role in the proliferation of didactic literature. The value of staying away from the word, instability and transient nature of the world and its grief, avoiding immoralities and taking virtues are all the common issues in mysticism and didactic literature. The Hadiqat al Haqiqa is the first spiritual lyric that has been composed for teaching of spiritual, religious and moral issues. Sanaee is the first poet who has made use of anecdote and parable for moral and mystical behaviors. He has been a model for subsequent poets in this respect. This article tries to investigate the different didacticand moral concepts in Hadiqat al Haqiqa and show the outstanding role of anecdotes and parables.

Though Sanai is the leader of Persian mystical poem and his role is distinguished in creating the poetics of mystical poetry, the fact that he has risen from the hert of a rooted mystical tradition, whose linguistic signs can be seen in mystic and theological works written before him. So the main question of this article is: Are there any similarities and common topics between the study of Hadiqa Tu’l Haqiqat, as the pinnacle of mystic poetry, and the mystical and theological works predating it? In order to find the answer we extracted common topics of Hadiqa Tu’l Haqiqat and exceptional mystical and theological works predating it, and then analysed the existing data in three level: similarities, tales and other common topics. The next question is: can we determine the probable sources that had an impact on Sanai’s thoughts? The more we meet the name of a certain work, it can show that the work was a source of Sanai‘s ideas, and vice versa.