Manifestation of the stories of the prophets in Sana'i poems

abstract

This thesis, entitled "The Manifestation of Prophets' Stories in Sinaitic Poems" deals with the quality of the poetic manifestation of the Prophets' stories in Sinaitic poems.

The content is arranged in five chapters, the first chapter as the generality of the research refers to the statement of the problem, the importance of the research, goals, questions and assumptions. is which is briefly explained about them. In the second chapter, the background of the research is discussed and in the third chapter, the research method used in this research is discussed.                                                                                                                                       In the fourth chapter, the findings of their research and analysis have been examined, which includes two parts: In the first part, the story and storytelling and the influence of the story of the prophets in Persian literature, especially in Sana'i poetry, have been discussed. The second part deals with the quality of the poetic manifestation of the story of the prophets in Sana'i poems and the quality of this poet's use of these stories in his poems and divans and includes sixteen categories. The categories are arranged in alphabetical order, except in the first category, where a description of the life of the Prophet of Islam (PBUH) has been given for the purpose of blessing and protection.

The fifth chapter is the conclusion of the research. The notes also come at the end of the sentences and the final part includes sources and sources. Chapter One Research Overview Introduction

Blessed is the man who hangs in my lap

rtl;">                                                                                                                                                                                                                                                                                  . From Sana'i, there are precious works left behind, including moral, philosophical and social masnavis, and divan of ghazals, quatrains, and odes. Hakim Sanai had a serious impact on the culture and literature after him and changed the course of Persian poetry. Almost the same role that Nima had in the development of contemporary poetry, Sanai has also played in the development of mystical ghazal and masnavi.

The mountain of waves that appeared in the name of mystical literature, especially in Persian poetry, and today has left its deep impact on the whole world, was actually founded by Sanai. He expanded the realm of artistic thought and experience in Persian poetry, tried various literary genres and excelled in them. Until his time, such an expansion and scope has not been seen in the Persian poetic experience. Sanai's literary innovation is absolutely certain in three realms:

Firstly, in the tradition of Persian lyric writing, Sanai made some innovations, such as that he embellished the lyric poetry, which until that time was immersed in earthly and personal experiences, to a new dimension, and made it into a container of religious and mystical emotions, and he made the poems into blasphemous and blasphemous themes.                                            The second was innovation in Masnavi. He made the Masnavi a form of didactic and philosophical mystical literature, the Masnavi of Fakhri-nameh (Hadeeqah al-Haqiqah) was one of the most effective works of educational and Sufi literature in the Persian language, as other great Persian poets, including Molvi and Attar, made their Masnavis in the Sana'i style, and others also created many Masnavis imitating the Sana'i style..

The third creative effect in Hakim Sanai's work is critical literature. In his social odes and masnavis, especially in Balkh's work, Sana'ei made social criticisms and revolutionized this literary genre. He criticized many traditions and social and religious beliefs of false morals, and in his Qalandaran sonnets, he rose up against the hypocritical society of the age and showed his protest against the standards of the society of that day. Senai's protest was a protest within the ruling systems, such an approach has not been seen in Persian poetry until that day. Of course, Nasser Khosrow was a protester who opened his language to protest outside the ruling system. In the days of Sana'i, a wave of attention to the story had spread everywhere. Before Sana'i, Akhwan al-Safa and Abu Ali Sina had presented philosophical interpretations of simple stories, and Sana'i probably influenced the story towards mystical ideas and became the founder of mystical stories in the Masnavi. Part of the charm of Sana'i masnavis is due to the attractive mystical and moral stories, and the simplicity of telling their stories is another reason for their charm. (Mohammed Khani, 1385: Introduction)

Statement of the problem:

Hakim Sana'i is undoubtedly considered among the Persian writers of literature, one of the pioneers of this nation and in fact one of the prophets of Sahar Halal clan.

Although before him Elders like Abu Saeed Abul Khair have written mystical poems and have included many issues of Sufism in their works, but the works left by them are very few and they are not counted among the poets, and Sanai is considered the first Sufi poet of the Persian language. Hakim Sanai created a huge change in poetry and poetry And he drew the lofty mystical concepts in the best and most eloquent way in the field of poetry, and the fusion of Persian poetry with mystical and Sufi thoughts found a special beauty and beauty, and the poem acquired broader concepts. They said their words in love, but the invention of this method belongs to Hakim Sana'i and they consider him as their guide and leader. According to Maulvi, Sana'i is the eye and the light, Attar the leader of the caravan and he considered himself to be the follower of them both. It is rhetoric, but his book Hadiqa al-Haqiqah, which is the mediator of these works, is one of the masterpieces of Persian poetry" (Razavi Madras, 1374: Introduction) and it is considered the first work of mystical poetry that has been imitated by great poets such as Nizami, Khaqani, and Molavi.

This work is "in truth, a period of practical wisdom that is an example of people's lives and a guide to human individual and social ethics, and Hakim in this book He invited people to godliness, charity, courage, chastity, greatness, love, contentment, and submission, and taught people how to deal with each other. (Ibid.: p)

Other works of Sana'i, which according to researchers are original and related to him, include the Masnavi "Sir al-Abad to al-Ma'ad" which was written on the weight of Hadiqah, and in it, the creation of man, souls, intellects and other moral issues are talked about through allegory, and he attributed all these issues to the world of dreams in an original way, and it is considered an allegorical travelogue. .

Another poem called "Tariq al-Tahhaqiq" on the weight of Hadiqah, which is about knowledge and truths and has about nine hundred verses. Also, the Masnavi "Balkh Record" which was composed during his stay in Balkh and has about five hundred verses.  It is based on humor and Mataiba, and for this reason it is also called Mataiba Nama.