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

The course of satirical writing in Iran is closely related to political history. In the periods when poets and writers have benefited from relative freedom, satirical writing has also grown more. During the Seljuk period, when the government was in an intermediate political position - that is, neither absolute tyranny nor populist government - the course of satirical writing, like the literature of that period, had a completely different and perfected state. In this period, on the one hand, there are many courts and free from tyranny, and on the other hand, at the same time, publicism dominates the kings and people, and education in the society has expanded and has created a variety of styles and voices in the creators of poetry and prose. And in the third level, poets and writers have been abandoned by the government and have benefited greatly from freedom of action. With the progress of literature, numerous satirists have emerged with different and innovative styles and methods, the example of which is not seen in any other period until the constitutional period as a period with complete freedom. The development of humor in this period is more intellectual and content-oriented and has two popular trends such as lampoon and facetiousnes and literary jokes, and special trends such as philosophical, sectarian and mystical satires. Composing odes with a combination of satire, humor and praise, and boldly suspicious poems and humorous narratives of insane intellectuals, has given a different atmosphere to poems and divans in this period.

Sana'i of Ghaznavi (545 or 529-467 A.H.), is often known as an "innovative poet". One of his initiatives is the use of humor in "Hadiqah al-Haqiqah". Because he intends to explain mystical topics to novice mystics and readers of this book with popular methods. After Sana'i, famous mystics such as Attar Neishabouri and Maulana Jalaluddin Balkhi used humor a lot. This article, with a descriptive-analytical method and based on library research, has found the satirical techniques of "Hadiqah-ul-Haqiqah". While examining each trick and finding their connection with humor theories (Relief Theory, games theory, superiority theory, ‎ Incongruity ‎Theory), the researcher  has analyzed and investigated the function of these modes today.The results show that all the satirical techniques of "Hadiqa al-Haqiqeh" strengthen the theory of games. Also, the total number of "language games" is 67.4% of the total humorous tricks of Hadeeghah, mostly seen in anecdotes (narrative part), especially in the anecdotes of the second half of Hadeeghah. After that, there are techniques that strengthen the theory of superiority (8.5%), which can be seen in the whole "Hadiqah al-Haqiqah". As a result, it can be said that Sana'i was aware of the function of the  language game and its impact in order to teach mysticism, ethics and philosophy correctly and fully, and has benefited from it by using the effect of satire to better understand the content; But often with a superiority-seeking and informative view, he humiliates and mocks the characters of the stories or the audience. Out of 53 anecdotes and monographs, only 7 anecdotes and 6 humorous verses (in line with the theories of games, liberation and conflict) are functional in the communication.

In this article, the authors' efforts are a comparative study of the intellectual level of Hafez and Sanai's sonnets with an emphasis on Lucien Goldmann's theory of formative constructionism. In his own way, Goldmann tries to reveal the connection between the inner structure of the work and the intellectual construction (worldview) of the author's social class, and in his opinion, the stronger this relationship is, the greater its artistic validity. The mental structure of Sana'i society made his sonnets in terms of intellectual level fall into three categories: romantic, mystical, and intellectual, and the social structure of Hafez's time made his sonnets appear to the level of a reformist critical thinker. The results of research, by using the comparative method, indicate that the dominant intellectual level of Hafez's poems is to change the structure of the existing situation and realize justice, and the intellectual level of Sana'i poems, due to the inclusion of epistemic, situational and especially normative implications, is of dimensions and ability. It has important civil and political functions.

Not only was Sanai a literary man and a poet who was praised and imitated by other poets, he was also - as researchers studying his works believe - the one who systematically blended mysticism into poetry and made the chapters of Sufism - up until then articulated in prose - eternal by exposing them in poetry. He gathered all Islamic teachings - which were scattered in other writers’ works until his time - in his works. Sanai has a special place in the history and chronology of literature and mysticism because of his contributions to changing the context and contents of Persian poetry; therefore, acknowledging his place and studying his works and life are a step in understanding the knowledge, wisdom, culture and society of his age i.e. the late 5th century and early 6th century. Sanai was praised and introduced by scholars of his homeland 60 years ago, a time in which the works concerning Sanai and his life were widely recognized by researchers from all over the world, particularly Iran. Later, due to wars, coup d’état, and Soviet invasion in Afghanistan, these studies came to a halt; as a result, the Afghan researchers were influenced by their non-Afghan (especially Iranian) peers. Analyzing the three historical periods of researching Sanai in Afghanistan and the influence of afghan researchers on Iranian ones and vice versa, and the reasons of these influences, by using descriptive analytical method and deploying library means, are the pivot and central concerns of this article.

The Ghaznavid divan of Hakim Sanai, with more than thirteen thousand verses, consists of poems in the form of ode, composition, preference, mesmat, lyric, piece and quatrain. Composing a lyric and tending to romantic controversies and its attractions, the poet occasionally preoccupies himself. Introduction to Sanai's hymns which describe the beloved, although not uniform in number of verses and is often between 7 and 29 verses, but has a place in his hymns. In this article, while briefly introducing various aspects of the description of the beloved, such as; The field of immorality and spirituality or the reporter of the face and sensory and intellectual similes, etc, the image of the beloved Sanai with emphasis on the poet's intellectual evolution, should be examined and analyzed; Therefore, first, the most important and special approaches of Sanai in drawing the image of the beloved have been extracted and classified into eight groups. Then, by studying and finding the frequency of words and presenting diagrams, their importance, how they are used, their place and the way of intellectual development in Sanai's depiction of the beloved's image are analyzed in the lyric poems of his praise poems. The presence of characteristics of Khorasani style and traces of change that later become the beacon of poets in the field of dealing with the beloved, is one of the highlights of the lyric poems of Sanai praise that are addressed in this study. The research method is descriptive and analytical with statistical charts.

Looking at the prominent works of mystical literature, we see major differences in the use of mystical terms.If we know the Sadness and mystical joy is one of the mystical state that has always been affect the mystic In the way of life and conduct, This concept can have different manifestations in mystical worksThe present study, with a descriptive-descriptive method, following the expression of the differences and the evolution of this concept By revealing the inner passions of the mysticsThe effect of each of the interactions on their works and followed by the kind of attitude of attitude to these concepts accurately examineTherefore , as if each of these prominent men represented a stage in the mystical course of the Shari'ah (Sanai), Tartath (Attar), verity (Molavi) And with their constant research, their works can be from the beginning to the end of these stages. And depending on these mystical experiences and their existential capacity, "Sadness and mystical joy" are different.

The Ghaznavid divan of Hakim Sanai, with more than thirteen thousand verses, consists of poems in the form of ode, composition, preference, mesmat, lyric, piece and quatrain. Composing a lyric and tending to romantic controversies and its attractions, the poet occasionally preoccupies himself. Introduction to Sanai's hymns which describe the beloved, although not uniform in number of verses and is often between 7 and 29 verses, but has a place in his hymns. In this article, while briefly introducing various aspects of the description of the beloved, such as; The field of immorality and spirituality or the reporter of the face and sensory and intellectual similes, etc, the image of the beloved Sanai with emphasis on the poet's intellectual evolution, should be examined and analyzed; Therefore, first, the most important and special approaches of Sanai in drawing the image of the beloved have been extracted and classified into eight groups. Then, by studying and finding the frequency of words and presenting diagrams, their importance, how they are used, their place and the way of intellectual development in Sanai's depiction of the beloved's image are analyzed in the lyric poems of his praise poems. The presence of characteristics of Khorasani style and traces of change that later become the beacon of poets in the field of dealing with the beloved, is one of the highlights of the lyric poems of Sanai praise that are addressed in this study. The research method is descriptive and analytical with statistical charts.

Symbolic Reading of Sea Animals In Sayr ul Ibad of Sana'iA Debate on allegorical meanings of Oyster, Turtle, Alligator, Fish and Crab. In his symbolic Mathnawi, Sayr ul ebad, Sana’i Ghaznavi(529) has adopted a number of sea animals allegorically. These creatures signify the Elements and Natures. Each element is related to one of four Humorals (Akhlat). Water, with its cold and humid nature, and Air with warm and humid nature, establish bad conducts in Human soul. Describing the nature of these elements, Sana’i depicted the bad conducts in form of sea animals. Oyster, Turtle, Alligator, Fish and Crab, are used symbolically to signify bad conducts of human soul. In this paper I intend to decode these symbols and expose their real meaning. Afterwards, I will indicate the deficiencies of the old commentary of this master piece of literary work.f literary workKeywords: Sanai, Sir al-Abbad, Marine animals, Mystery, Allegory.

Hakim Sanai Ghaznavi is one of the famous speakers of Iraqi style and mystical poetry who has left works of poetry and prose in his memory. done. The power of imagery is always a hallmark of a poet. Therefore, the present article is devoted to the study of poetic images (similes and metaphors) in Sanai poetry. In this article, poetry and imagination (image) are mentioned. The similes and metaphors of Hakim Sanaei's poems have been studied in terms of frequency, subject (pictorial elements), compactness and breadth, as well as in terms of the poet's purpose in bringing these images. Hakim Sanai Ghaznavi is one of the famous speakers of Iraqi style and mystical poetry who has left works of poetry and prose in his memory. done. The power of imagery is always a hallmark of a poet. Therefore, the present article is devoted to the study of poetic images (similes and metaphors) in Sanai poetry. In this article, poetry and imagination (image) are mentioned. The similes and metaphors of Hakim Sanaei's poems have been studied in terms of frequency, subject (pictorial elements), compactness and breadth, as well as in terms of the poet's purpose in bringing these images.

Sanai Ghaznavi, mystic of the sixth century AH. Q., who is also one of the prominent poets of Persian educational literature, has paid attention to the issue of hypocrisy as one of the important moral-social diseases in his works and has tried to eliminate and correct this problem through hypocrisy. In this way, he pays special attention to the teachings of the Holy Quran, as one of the intellectual and intellectual sources of his advice. Identifying and introducing Sana'i influences from the Holy Quran in the Divan of Poems and Hadiqah al-Haqiqah based on poetic evidences and their critique and analysis is the main issue of this article. This article has been written in a descriptive-analytical method. Sanai condemns hypocrites from different groups and strata of society such as: jurists, scholars, preachers, ascetics, readers, Sufis, pilgrims, etc., and various material and spiritual motives to turn to hypocrisy and hypocrisy. He counts, such as: gaining wealth, position, respect, fame, etc. Inspired by the teachings of the Qur'an, he believes that: Hypocrites are the companions of Satan, do not have sincerity in their acts of worship, and seek hypocrisy through hypocrisy and pretense. They are worldly. And offers them solutions; Such as: turning to the world of contentment and contentment, avoiding the air of breath, having sincerity and honesty, not being deceived by appearances, avoiding hypocrisy and hypocrisy, etc. Finally, it is recommended to enter the bend of unity and leave it with uniformity.

After the acceptance of Islam and the existence of verses in which the kingdom of the heavens is mentioned, the attention of the heavenly court increased among the Iranians in a way that writers, poets, and mystics used it for thematic purposes and often used the sky and related themes in their works. It is clear that in order to better understand the meanings of the verses, it is very important to know the scientific themes of the poets in different poetic periods. One of the well-known poets of Persian literature is Hakim Sanaei, who, with the knowledge of astronomy, used it in the service of mystical ideas. He made extensive use of the knowledge of the sky and astronomy in his poems, and because of his mystical tendencies, he sometimes used this knowledge to convey mystical concepts. In this analytical research, while examining the emergence of astronomical knowledge and its feedback in some mystical texts, it has been shown that Sanai is proficient in this knowledge and has used it in composing his poems in Divan

Sanai, the founder of Persian mystical poetry, is one of the poets who strived to introduce the language of mysticism practically and at times theoretically. So far, several theories have been proposed regarding mystical language. These theories, where they are based on the more general theories of language of the target religion, fall into two categories of formative theories and role-oriented theories. One of the role-oriented theories about the language of metaphysical experiences is John Herman Randall's theory. This philosopher considers religion, just like science and art, as a kind of human activity that contributes to human culture, and lists four roles for religious mysteries and myths. The present article, adopting a descriptive and analytical research method, renders a new analysis of anecdote functions in Sanai's Hadiqat al-Haqiqah and examines their correspondence to Randall's theory. The findings reveal that Sanai deploys anecdote for two purposes; first, to clarify ontological, theological, cosmological, and anthropological issues and to correct social problems, and second, among Randall's four roles, Sanai’s Hadiqat al-Haqiqah anecdotes, in the first place, play the role of stimulating practical senses and strengthening practical commitments (Anthropological), and stimulating senses of cooperation and social cohesion (Social), in the second place. The next two roles, namely the transmission of unspeakable human experiences (Theological) and the explanation of the glorious divine system (Cosmological) have been considered less by this mystic poet. These roles place Sanai’s mysticism under the banner of Khorasan School, which is better known as humanism and socialism.

Discursive semiotics is the outcome of construct-oriented semiotics and anecdotes system of semantic studies. This view believes that the flow of "semantic production" is subject to a process in which sign-semantic factors are involved. Semiotics of discourse, in the form of processes and in different aspects of cognitive, sensory-perceptual, emotional and aesthetic, etc. It's raised.The aim of this study was to investigate the semantic signs of Hadigheh al-Haqigheh anecdotals using library research method and descriptive-analytical analysis. It was concluded that in the study of discourse systems in Hadigheh al-Haqqeh, different types of these systems, including Intelligent and Shushi, can be seen that the dominant discourse systems are hadigheh. Cognitive discourse has a more important position in hadigheh anecdote as a mystical discourse, and according to the approach of such discourse, the cognitive process takes a different and sometimes different path in hadigheh anecdote. In the cognitive discourses of Hadigheh Sanaee, factors such as the relationship between effective verb knowing and believing with the question of cognition are discussed and also the relationship between the angle of vision and cognition is discussed. We also concluded that in some haddigheh anecdote, the production of meaning in the context of schema fusion leads to cognition.

Sanai Ghaznavi, in addition to his stellar position in mystical literature, is one of the great scholars and thinkers in the field of ethics as well as Islamic thought, especially in mystical poetry of poets with style and current in this field. Is. On the other hand, the most important figure who founded the theoretical foundations of the fusion of religion and mysticism is Abu Hamed Mohammad Ghazali, and considering the important and influential position of Ghazali in his time and later periods, and especially the contemporaneity of Sanai and Ghazali, Ghazali"s intellectual influence Sanai is an issue that needs to be researched in this area. Relying on the intellectual commonalities between Ghazali and Sanai, as well as the existence of similar intellectual sources, this article examines the reflection of Ghazali"s ideas in Sanai"s Hadiqah al-Haqiqa.

The research method is descriptive-analytical and the data are collected by library method.

The idea of ​​asceticism and mysticism is one of the most important thematic axes in Hadith al-Haqiqah. In the period when Sanai was introduced, intellectual, theological and religious differences were at their peak. Like al-Ghazali, Sanai displays religious themes with a mystical cover. The intellectual sources and reflections of Ghazali and Sanai have been "Quran, Sunnah of the Prophet, religious books".

The results of the study indicate the significant effects of Ghazali on Sanai"s thought, as in theological and mystical fields Ghazali"s intellectual sources can be seen in Sanai"s poetry and thought, so that Ghazali has a surprising effect on Sanai"s intellectual development. had. Also, in arranging the chapters of the book of Hadith, Sanai has not paid attention to the method of mystics and commentators of Sufism in the matter of the word of God and the importance of its recitation, and in this regard he speaks completely in the manner of Ghazali.

Sanai Ghaznavi, is considered one of the most important cultural creators in Iran. The reason why Sanai is called the epoch-maker is the creation of backgrounds in Persian poetry that were not so prominent before him and many after him owe it to him. Sana'i's influence has been manifested in the minds and consciences of the spiritual thinkers after him, in various fields, such as his literary-poetic themes and his special mystical way. Attar, Rumi, Najmuddin Dayeh, Roozbehan Baqliashirazi, Shahabuddin Suhrawardi, Jami and many others have been influenced by Sanai. Most of the mystical works of the sixth century, especially the mystical interpretation of Kashf al-Asrar Wa-Uddt al-Abrar, despite its contemporaneity with the poet, have used Sana'i poetry more than any other work in various mystical fields. From this perspective, Sanai's cultural creation in the spiritual realm of Iran is obvious due to his many influences in the minds and consciences of the poets after him. Cultural creation is a rare and elusive category and arises from individual wisdom and a special historical capacity. In this sense, Sanai can rightly be called a cultural creator; Because not only did he add a new atmosphere to Iranian thought and poetry, but he also devised a new design in the ode and established and valued themes such as the critique of the lord of power and the poetry of Qalandar and Moghaneh. Of course, Sanai's approaches in terms of creating a new school and his wide-ranging influence on his later works bring him closer to the field of culture creating. One of the most prominent aspects of Sanai's cultural creation in the realm of poetry is Qalandar and Moghaneh, so that most of the themes of Sanai Qalandar are explained and nurtured in the poems of the poets after him. Contrary to the common view of the form of the ode, which is generally considered to be a vehicle for asceticism, admonition and praise; Sanai has used the ode of the poem to express his Qalandar teachings due to its descriptive atmosphere. After analyzing all the odes of Sanai from the perspective of Qalandar and Kharabat contexts, we have come to the conclusion that the components of Qalandar on which Sanai has based its spiritual-literary worldview in a symbolic field; are: Conflict of sacred paradigms with blasphemous and Kharabati paradigms; Criticism and rejection of traditions and taboos; Shatah and Tamat as Qalandariyat; Defending the devil; The value of disbelief as faith; Relying on Blamefulness; The creation of a lover in the image of Qalandar and improvidence. The culture creation of Sanai in Qalandari was revealed by analyzing the works of contemporary and post-Sanai poets, such as Ein al-Qudat Hamedani, Attar, Maulana, Hafez and Iraqi, and led them to the fact that they are derived from the various components of Qalandar. The background of this research can go back to the days of Sanai and his infamy. Sanai's effectiveness dates back to his own time, and to this day, Sanai scholars have looked at it from a variety of perspectives. From the Ayn al-Quzat Hamadani and Rumi Balkhi to the present day when Professor Mohammad Reza Shafiei Kadkani (1372) in the book Whips of conduct and Dr. Reza Ashrafzadeh (1374) in the book Ab-e-Atash-e-Furuz and Dr. Mohammad Jafar Yahaghi and Dr. Mehdi Zarghani (1397) In the preface to the correction of Hadiqah al-Haqiqah, there are clear references to the extent of Sana'i's literary influence, but the present article has been compiled only in the field of odds, focusing on culture creating and relying on Qalandar concepts. The presentation of mystical symbolism with the presence of the first Qalandari paradigms, including Sana'i creations and cultural creations in the field of Iranian thought. Sanai culture-creation is also evident in world literature; As some scholars believe, Dante was influenced by Sir al-'Abbad Sanai in the Divine Comedy. Like Masnavi and Ghazal, Sanai's odds have been influential in the field and time after him, both due to their critical approach and critique of the lord of power, and due to its special mystical discourse, and many poets have welcomed him. One of the most important subjects that has a special prominence in Sanai's odds and in a way, has a prominent role in his culture creation; Qalandari look, with all its dimensions. Although Qalandar's approach to Sufism existed before Sanai, a comprehensive poetic view of it and the symbolic establishment of this field of Iranian mysticism occurs for the first time in Sanai's poems; To the extent that many scholars believe that the transformation of Qalandaran's image into transcendent examples and the creation of the first Qalandari backgrounds in mystical poetry has been studied from the perspective of Sanai's pioneering and cultural creation. By examining Sanai's odds, it can be seen that Sanai is the initiator of a style with characteristics such as infidelity, sabotage, blame, randy, Qalandari and in general, which are reflected in many poems of poets after him such as Saadi, Attar, Mowlan , Iraqi, Hafez, etc. are repeated and evolved. Pre-Sanai's odds were mostly used to express the themes of praise and admonition, but Sana'i's culture creation in the ode is due to the fact that he breathed new life into it and promoted the teachings of Qalandar and Muganeh. Sanai has also used the capacity of the ode to reflect the image of the Qalandariyyah and the creation of the ideal state resulting from this frequent motif, in all its dimensions - from the themes of ruin to the teachings of blasphemy. A careful analysis of Sanai's poems reveals that one of his most important (if not the most important) poetic themes is his thoughts of Mallamati and Qalandari; In this way, the semantic field of other teachings has been constructed around this macro-narrative. The analysis of Sanai's odds has led us to the fact that the components of Qalandar literature in his view are formed in several main axes, which are: the beauty and behavior of the beloved is Qalandar and Negligence; Sacred paradigms are intertwined with blasphemous and destructive paradigms; Mystics and taboos have been criticized and rejected; Shatah and Tamat look like Qalandariyat; Defending the devil is the basis of Sanai's Qalandari thought; The essence and truth of religion and Islam, infidelity, reproach, is the basic element of Sanai and Randy Qalandari thought is an example of Qalashi model and Qalandari.

The word “kharābāt” in Persian literature, and especially in mystical literature, is one of the most frequent words. Due to various and sometimes contradictory meanings of this word which has thousand colors, it has been accepted in mystical literature. In the texts of Persian poetry and prose the word kharābāt and kharābāti (who belongs to kharābāt), and in particular, in the texts of mystical poetry and prose which are full of this contradictory word, because each Persian poets and writers use the word kharābāt in the different meanings. In this article, the different meanings of the word have been explored in Persian literature, and also the point of views of many Persian-speaking writers and poets, and in particular, the point of view of mystic Fakhr-al-Din Iraqi, have been explained in detail in this regard.

Narrative studies from the perspective of structuralisms studies the nature, form and role of narrative and tries to show the ability and understanding of the narrative text. In all heavenly religions, according to human perception of religion, there are ways to reconcile with the deity. Poets, as possessors of gentle and sensitive souls, have included in their poems sweet and pleasant prayers, which is one of the most delicate phrases of their works. The narrative-cognitive perspective of prayer acquaints itself with the artistic manifestations of this type of literature, and deals with possible connections between prayers and the narrative text, especially "order, continuity and frequency, aspect and sound". The present article examines the place of the narratology of prayer in the poems of poets (Sanai, Nezami and Attar).

This research is a descriptive-analytical method and examines a number of narrations of the prayers of these poets based on the topics of "order, continuity, frequency, aspect and sound" in the framework of narratological theory. At the beginning of these discussions, the theoretical foundations of the research are explained, then many examples of prayer poems are reviewed and evaluated.

The poets of the sixth century, or the Iraqi style, have the delicate and sensitive spirit and emotions of Persian poetry. What shines in the poems of these poets is the use of prayer and supplication as an emotional escape Prayers and supplications, apart from expressing emotions, can be a means of escaping emotions, expressing suspension, order, continuity, frequency, aspect or sound.

The use of prayers and supplications in the poems of these poets is sometimes used in a concept other than its original meaning; The prayer poems of these poets, by traveling to the past and bringing it to the present, in addition to being beautiful and influential, give people hope for immortality and mastery of time, and by adapting the time of prayer and the volume of prayer, with relatively high rhythm and acceleration. Cause the reach and effect of prayer in the minds of their narrators. Also, the relationship between the number of repetitions of an incident in the story and the number of times narrated in the poems of these three poets is mostly expressed as a single frequency. The distancing of the levels of the story, the report and the small presence of the narrator in the prayer poems of these poets, have sometimes caused relatively more details and information to be provided.

Cat f hnur has lng been cmmnly referred t as the cmmn dress given t ministers r emirs by a Muslim ruler, king, r caliph. Cat f hnur is nt nly a categry related t the mnarchy and the curt, but als an expressin that mystics, especially Sanai, Attar and Rumi, have used in their bks. Assuming that mystics refrain frm being explicit in speech and tend t refer t their intended meaning in speech, we set ut t answer the questin f what meanings and allegries can be interpreted frm the interpretatin f Cat f hnur in the bks f Sanai, Attar and Rumi? In this research by analytical-descriptive methd and Based n the evidence, we have shwn that if Gd gives a special Cat f hnur t the mystic, it is gd and pleasing; therwise Cat f hnur will be the veil f the mystic. The frgiveness r achievable f Cat f hnur has dimensins. That is, accrding t sme evidences, the mystic can be given a cat f hnur by Gd, and accrding t sme ther evidences, the mystic must fight with ne’s wn self t btain it. Ennbling f cat f hnur is its mst imprtant aspect. Als, Cat f hnur can mean frgiving and cvering the shrtcmings f mytics.

The poetic themes and illustrations have a long history. Most poets have used their best efforts to use the letters in imagery to create themes in a beautiful and exuberant way. Sana'i and Khaghani are among the poets who have achieved this art with their poetry, so that the singer drowns in thinking about creating their own images. They have created wonders through the use of phenomena and the use of symbolic and mythological meanings of what they see in their surroundings. These two faces have unique features, one of which is the creation of beautiful illustrations with words and letters, and this, along with innovation and creativity, has added to the importance of their poetry. Imagination with "La" is a striking technique in the poetry of Sanai and Khaghani, and is so beautiful that it makes the reader wonder. The author of this essay is to explain the delicacies of these artistic techniques in the poetry of the two poets

It is part of Sanai's satirical poems in which various social groups are blamed. This part of his poems sometimes goes beyond the circle of politeness and decency and pursues a goal by breaking the norm. This descriptive and analytical study examines the contexts, causes and factors of Sanai's approach to this type of poetry and analyzes the claim that Hazel's literary type is educational and the extent to which it is achieved by providing evidence and documentation of his works. Given that Sanai was a religious poet and bound by moral principles, the use of words, concepts and anecdotes contrary to the principles of literature should be justified. The findings of the study show that the political, social, and moral situation of the Sana'i community has led to jokes in order to expose and point out the individual, social, moral, and immorality of the people in the form of jokes, biases and shortcomings. In some of these jokes, such as the jokes of pious poets, Sufis, and cunning and opportunistic scholars, in order to expose the dark corners of their actions, one can accept that the joke is educational. Keywords: Sanai, Hadiqah al-Haqiqah, joke of education, socio-political situation