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  3. Investigating the depiction of sunrise and sunset in Ganjavi's Khamsa Nizami

Investigating the depiction of sunrise and sunset in Ganjavi's Khamsa Nizami

Number of pages: 123 File Format: word File Code: 31531
Year: 2014 University Degree: Master's degree Category: Literature - Persian Language
Tags/Keywords: five treasures - Ganjavi military khamsa - illustration - Illustration of sunrise and sunset - Imagination - Iskandarname - Military artefacts - Nizami Ganjavi - sunrise
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  • Summary of Investigating the depiction of sunrise and sunset in Ganjavi's Khamsa Nizami

    Academic Thesis for Master's degree

    Farsi Language and Literature

    Abstract:

         Nature with its beautiful effects, has always impressed all people, especially poets and writers, and has been continuously praised and described and widely reflected in their works. In the meantime, the sun, as an astronomical phenomenon and its related images, has become the basis for the creation of high literary themes and meanings and has contributed the most in embodying the imaginations of poets in various texts of Persian literature. The purpose of the present research is to investigate the depiction of the sunrise and sunset and how to use imaginary images in military Khamsa. The results of the research showed that Nizami tries to speak in the language of art in Masnavi Khamsa (Panjganj). He has been able to immortalize the beauty of his verses with unique illustrations and by combining mysticism, law, wisdom, asceticism and love. And in the meantime, he has used imaginary images to a significant extent in depicting the sunrise and sunset, most of which is the use of military imaginary images in the five metaphorical treasures of the explicit type. Also, to a great extent, Nizami has used Qur'anic phrases, themes, stories and hadiths in depicting the sunrise and sunset, which originated from his religious beliefs and rich information in this field.

    Keywords: sunrise, sunset, imagery, Sur Khyal, Panj Ganj, Nizami Ganjavi

    First (generalities of the research)

    1-1     Introduction:

    Nizami is one of the great poets in the history of Persian literature who had very beautiful performances in creating pristine and original images. Among Nizami's imagery creations, we can mention the images of sunrise and sunset, which he has used many times in his poetry. Generally, poetic imagery has a special novelty only in the era and time of the creation of the poem, but with the passage of time, it wears down and loses its freshness. The originality of Nizami's poetic images is not allowed by obsolescence.

           The purpose and motivation of this research was to examine the depiction of the sunrise and sunset in Nizami's works in order to expose the artistry of this great poet and since this issue has been investigated and researched in the works of great poets such as Ferdowsi and Khaghani, it will not be without benefit to investigate this issue in the works of a great poet such as Nizami.

    In this dissertation, an attempt has been made to examine with more contemplation and reflection the five treasures of military art in the field of depictions of the sunrise and sunset, and to analyze how he used imaginary images.

    One ??of the major problems I encountered in this research was the lack of sources and comprehensive reference books with new editions, the lack of which caused the slowness of the process of collecting materials and The lack of rapid progress was investigated. The current research is a descriptive-analytical type of research. The tool for collecting information in this research is a questionnaire. This research is written in five chapters, in the first chapter the generalities of the research are mentioned. In the second chapter, the theoretical foundations of the research are discussed. In the third chapter, the biography and works of the 6th century poet Nizami Ganjavi are introduced. In the fourth chapter, the depiction of the sunrise and sunset using images of "simile, metaphor, irony, and permission" has been discussed, and in the fifth chapter, the research results have been discussed.

    1-2 Statement of the problem

    To know the culture of this land better by studying and examining the works left by the intellectuals and thinkers of the past. In other words, studying the life, thought and works of the great artists and thinkers of this country, who are sitting happily in the world and are bright and shining, is necessary and inevitable".(Alipour, 1383:6)

           If we want to point out the successful and outstanding poets in ancient Persian literature who have written in the field of mythological and romantic stories, surely the name of Hakim Nizami Ganjai comes to mind. The Seljuks and the bloody rule of the Khwarezmshahs. At the beginning of his youth, he devoted himself to the study of literature and history. He was familiar with the principles of mysticism, and practiced asceticism and Sufism, and the kings also respected his position and avoided eloquence in his presence.

    In the examination of Nizami's poems, it can be seen that he is among those who have not found an equal after him in choosing appropriate words and words, creating special combinations, inventing new meanings and themes, and describing nature. In khamseh stars, moon, sun, spring, water, garden, trees, flowers, greens, breeze, wind, air, soil, he has ordered. He has not created any of the manifestations of nature as original and pristine images as night and day, images in which there is no repetition. Nizami has many poems that he wrote following Sana'i in preaching and wisdom. As it can be seen from his poems, Nizami is the inheritor of prominent odes and epic poets.

    Nizami, in addition to odes and Diwan Ghazliat, of which Dolatshah wrote twenty thousand verses, and some of them are now in hand, he has five famous masnavis called Panj Ganj, which are called Nizami's Khamsa.

          First, Makhzan al-Asrar was written in the year (568-570), which contains about 2260 verses, and the poet named it after Fakhr al-Din Bahram Shah bin Dawood, the king of Urzangan, and this book has forty articles. In two completely separate and distinct parts, the subject, theme, and content, and even the way of expression, combinations, and the purpose of both are different.

         The second Matsnawi, the poem of Khosrow and Shirin was written in the year (571) after Makhzon al-Asr, which consists of 6500 verses.

          Third, the poem "Lili and Majnoon" was composed in the year (584) consisting of 4700 verses in less than four months. And he dedicated it to Akhtan Shah.

        The fourth Masnavi, Bahram Namah or Haft Pekar or Haft Gonbad was composed in the year (593), consisting of 5136 verses. And he gave it to Aladdin Arslan, the governor of Maragheh. This book is written in 10,500 verses and consists of two parts, which Nizami called the first Sharafnameh and the second Iqbalnameh.

         Although the difference in Nizami's style of expression and worldview, his knowledge and philosophy of life presents a relatively different picture of the common themes between him and his predecessors (Sanaei and Ferdowsi). Lili and Majnoon, with the historical elements of the myth about Iskandar and Bahram, which are discussed in Iskandarnameh and Haft Pekir, indicate that Nizami had an eye on works such as Hadiqeh Sanai and Ferdowsi's Shahnameh and aligned his works with them. It has been praised and described, one of the most imaginative and life-giving manifestations of nature, namely the view of the sunrise and sunset, the night, the moon and the stars. It is possible that the description of these landscapes has not been the same according to the attitude and beliefs, the environment and even the job and in all times and all nations and nations. For example, in the examination of the poems of Persian literature, each poet presents beautiful images of the sunrise and sunset, and the description of night and day and related topics. Their expression should be different from the expression of previous poets.

    It is mostly sensual and natural. Like great painters, they have described the night, morning and day as they have seen them with poetic language. Among them, Ferdowsi's descriptions are more epic. In the 5th century, the only important poet who gave a religious aspect to night and day and in his descriptions, similes and metaphors, religious and religious color was found in this matter is Nasser Khosrow Qabadiani.

  • Contents & References of Investigating the depiction of sunrise and sunset in Ganjavi's Khamsa Nizami

    List:

    Chapter One: Research Overview 1

    1-1 Introduction to the research 2

    1-2 Statement of the problem 3

    1-3 Importance and necessity of conducting the research 5

    1-4 Background of the research 6

    1-5 Research objectives.6

    1-6 Research questions (research problem).7

    1-7 Research hypotheses.7

    1-8 The aspect of innovation and newness of research.7

    1-9 Research method and type.7

    1-10 Information gathering method.7

    1 - 11 Information collection tools. 8

    1-12 Information analysis method. 8

    Chapter two: theoretical foundation of the research (definitions of depiction of sunrise and sunset). 9

    2-1 "Night and Day" of two divine verses. 10

    2-2 Depicting the sun. 11

    2-3 Attention of poets and writers to The sunrise and sunset of the sun. 12

    2-4 Image in the poem..13

    2-4-1 The role of similes in the image. 13

    2-4-2 The image in the poem from the perspective of foreign authors. 13

    2-4-3 The principles of creating the image.14

    2-5 Fantasy..16

    2-5-1 simile. 16

    2-5-2 metaphor 17

    2-5-3 irony 18

    2-5-4 truth and permission 6th century.24

    2-8-1 Khorasani or Turkestan style.24

    2-8-2 Historical coordinates of Khorasan or Turkestan style period.24

    2-8-2-1 Taherian and Saffarian period.24

    2-8-2-2 Samanian period.25

    2-8-2-3 Ghaznavid period.25 2-8-2-4 The appearance of the Seljuks in the third decade of the 5th century. 26 2-8-3 Coordinates of Khorasani poetry style. 26 2-9 Sixth century poetry in the military era. 27 2-10 Azerbaijani style. Sixth.28

    2-12 Examining the poetic form and imaginary images in Persian poetry.30

    Chapter three: Description of Ganjavi's military status and works.32

    3-1 Military biography.33

    3-1-1 Military introduction.33

    3-1-2 Parents and genealogy.33

    3-1-3 Ganja city.34

    3-1-4 Wife and children.34

    3-1-5 Military religion.35

    3-1-6 Military and Sufi thoughts.35

    3-1-7 Military and knowledge of time.35

    3-1-8 Military and Contemporaries. 37

    3-1-9 The way of poetry. 37

    3-2 Military works. Fig. 41

    3-2-5 Iskandar Nameh. 41

    Chapter 4: Studying the depiction of sunrise and sunset in Khamseh Nizami. 43

    4-1 Depiction of sunrise and sunset in Khamseh Nizami. 44

    4-1-1 Depiction of sunrise. 44

    4-1-2 Depiction of sunset. 52

    4-2 The imaginary image of the sunrise and sunset in Khamsa Nizami. 57

    4-2-1 simile..57

    4-2-1-1 simile of the sun-morning-day.58

    4-2-1-2 simile of the moon-night.80

    4-2-2 metaphor and its types.92

    1-4-2-2-1 Clear metaphor.92

    4-2-2-1-1 Clear metaphor of sun-morning-day.92

    4-2-2-1-2 Clear metaphor of moon-night.114

             4-2-2-2  Mechanical metaphor (recognition).122

    4-2-2-2-1 Makaniye metaphor (recognition) of sun-morning-day.123

    4-2-2-2-2 Makaniye metaphor (recognition) of moon-night.130

    4-2-3 irony..136

    4-2-3-1 irony of sun-morning- Day. 136

    4-2-3-2 Allusion to the moon-night. 147

    4-2-4 Allowed..153

              4-2-5 Sunrise and sunset according to military religious beliefs. 157

    Chapter Five: Conclusion. 160

    Conclusion..161

    Tables and graphs..163

    List of sources..165

    Abstract..source:

    Source:

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