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  3. Examining the elements of nature in Khosrow, Shirin, Laili, and Majnoon Nizami Ganjavi

Examining the elements of nature in Khosrow, Shirin, Laili, and Majnoon Nizami Ganjavi

Number of pages: 121 File Format: word File Code: 31539
Year: 2013 University Degree: Master's degree Category: Literature - Persian Language
Tags/Keywords: Elements of nature - Imagination - Khosrow and Shirin - Lily and Majnoon - literature - military - nature - Nizami Ganjavi - Persian poetry
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  • Summary of Examining the elements of nature in Khosrow, Shirin, Laili, and Majnoon Nizami Ganjavi

    Dissertation for M.A. degree

    Abstract

    Nature as one of the best image-creating elements has always been the focus of artists and poets, although the way of using it has differed in different periods, the relationship that poets establish with the nature around them creates images that show the poet's art, Nizami is also one of the poets for whom nature is one of the most important image-creating elements in his poetry. He uses the elements of nature in his poems to make his words and express his thoughts to the reader as beautiful as possible, and by means of that, he creates images that the general public faces every day, but does not pay attention to, with his image creation art, and in this way, he familiarizes the minds of the audience with his new and pristine images. In this thesis, the nature and its elements and the poetic applications that are used in the expression of thought and image creation (Sourkhayal) in two masnavis of Khosrow and Shirin and Laili and Majnoon have been investigated. The result is that Nizami used the elements of nature more in an unreal sense than in a real sense, and in his poems he considered and used earthly elements more than celestial elements, and among these, the most widely used craft in the creation of images and images of the poet is simile.

    Key words: nature, Nizami, Khosrow and Shirin, Lili and Majnoon, imaginary images

    Discipline: Persian language and literature

    Introduction

        The link between man and nature is an eternal and unbreakable connection; This relationship has caused the poets to be inspired by it more than anything else and to invite their poems to the colorful images of the beautiful nature and to invite the audience of their poems to explore these beautiful images. A cursory look at the poems of Persian-speaking poets in the first periods of Persian poetry shows the extent to which these speakers pay attention to nature. Of course, this is not something that is limited to that period, and its effects can be witnessed in all the literary life of this land, as it can be seen in all the poetic forms of the poets of the 6th century with all kinds of themes. Nizami is also one of the poets who has benefited a lot from the descriptions of nature to make his words more beautiful and to convey the meaning to the audience, and by bringing its various manifestations such as flowers, trees and all kinds of fruits and animals. He puts pristine and beautiful images in front of the readers of his works, which will never become old and wear out with the passage of time. In this thesis, the elements of nature were first extracted from Khosrow's and Shirin's and Laili's and Majnoon's poems, and after division, the uses of these elements were discussed by Nizami. This dissertation is compiled in five chapters as follows:

    The first chapter: with the title of general research and the second chapter: about the theoretical foundation of the thesis, which includes the definitions of basic and fundamental issues. The third chapter: introducing Nizami's condition, works and style and the fourth chapter: In this chapter, the elements and images in two works (Khosro and Shirin, Laili and Majnoon) that Nizami generally took from nature, the poet's extraction and use of nature and its elements that he used to induce his concepts and intentions as well as image creation, were analyzed and analyzed. The fifth chapter: This chapter includes conclusions, tables and diagrams.

    In this thesis, the book of Khosrow and Shirin and Laili and Majnoon edited by Hassan Vahid Dastgardi is used.  A number of verses are given as examples, and the rest of them will be referenced at the end of each section to avoid the thesis becoming bulky, and in the references section, instead of Khosrow and Shirin, the abbreviation letter (kh) is used, and instead of Laili and Majnoon, the abbreviation letter (l) is used. Compound, additional, implied, and superlative are mentioned by mentioning the name and simile.

    1-2 Statement of the problem

    Nature has been the focus of artists including poets since the past, because the first thing that every human being understands and sees himself in is nature. But an artist or poet looks at each of these elements with an artistic view and creates pristine and beautiful images from them. One of these artists is Nezami Ganjoi.One of these artists is Nizami Ganjavi, whose description of nature is one of the characteristics of his poetry. This thesis tries to examine the types of elements of nature used by Nizami in the two works of Khosrow and Shirin and Laili and Majnoon, and to show the most frequent of these elements in these two poems, and to determine the role of the elements of nature in the poet's imagination and the most used one. The method of analysis is as follows: first, all the verses that contain the elements of nature in the two systems are extracted, then each of the verses has been examined according to the questions raised.

    1-3 research questions

    The main question of this research is:

    What role does nature play in the masnavis of Khosrow, Shirin, Laili, and Majnoon?

    And other research questions are: From:

    1- What natural elements did Nizami use in Khosrow, Shirin, Laili, and Majnoon?

    2- What are the most used elements of nature in Nizami's two masnavis?

    3- Which elements of nature did the poet use more in the construction of Surkhyal?

    1-4 The importance and necessity of research

    Given that so far, a comprehensive and complete research that includes all the elements of nature in two masnavis Khosrow, Shirin, Laili, and Majnoon have not been investigated; This thesis and the results that will be obtained will be of interest.

    1-5 research background

    The books and articles studied show that there are elements of nature in the military Khamsa. We can refer to these works:

    1- Dr. Mazhere Nikkhah wrote an article in the Persian Literature Quarterly (Scientific-Research) Autumn and Winter 2018 under the title of matching the images of sunrise and sunset with the topic Hakait has discussed Ganjavi's Nizami's works, in which he points out Nizami's depictions of sunrise and sunset by bringing evidence of them.

    2- Imagination images in Khosrow and Shirin Nizami written by Dr. Mohammad Javidi Sabaghian, which is given in the book of essays of the Nizami Conference by Dr. Tharwat, with a brief statement, he examines the types of images of fantasy in Khosrow and Shirin Nizami's poem, one of which is the image of nature.

    3- Dr. Behrouz Sarvatian has also discussed the descriptions and illustrations in Ganjavi's military ideas in his book.

    1- 6 research objectives

    1- Identifying the military skill in using the elements of the real world to express his concepts and intentions as well as creating beauty

    2- Revealing the important elements that make up the poet's imagination

    1- 7 research hypotheses

    1- A military from nature for He has used beautification of his poems and inducing meaning and concept to the audience.

    2- Nizami has significantly used all the elements of nature in composing his masnavis.

    3- The most used element of nature in Nizami descriptions are flowers and trees.

    4- Simile is the most used art of describing the poet in imagery.

    1- 8 Limits and scope of the research

    The limits and scope of this research, Examining the elements of nature in the two poems of Khosrow and Shirin and Laili and Majnoon Nizami.

    Chapter Two

    Theoretical Foundation

    2-1 Lexical Definition of Poetry

    "Poetry in Tazi language is derived from "consciousness" and is used in the meaning of "knowledge, understanding, understanding, standing and wisdom" (Dehkhoda dictionary under the word poetry).

    2-2 Ancient Definitions of Poetry

        The shortest phrase in the definition of poetry by Qudameh Ibn Jafar in Naqd al-Shaar is as follows: "Poetry is a rhythmic and rhyming speech that implies a meaning" (Ziyadi, 2010: 27). Shams Qais Razi also writes about poetry in his book Al-Ma'ajm Fi Ma'air Al-Ash'ar Al-Ajm, "Poetry is basically a word, a knowledge, and the understanding of meanings is based on correct guesses and correct reasoning. And from the term it is a thought-out speech, spiritual order, rhythmic, repeated, equal, its last letters are similar to each other" (Qais Razi, 1373: 189).

       Aristotle considers poetry to be the meaning of creation and construction, and considers legend to be the substance and basis of poetry (Zarin Koob, 1375: 183). Aristotle also considers poetry to be a part of painting and painting, and the difference It can be seen with painting only in the fact that the painter shows the faces of tangible objects by drawing, unlike the poet who conveys the image of any desires and feelings to our eyes (Shabli Nomani, 1363:14-14).

  • Contents & References of Examining the elements of nature in Khosrow, Shirin, Laili, and Majnoon Nizami Ganjavi

    List:

    Abstract 1

    Chapter One: General

    1-1 Introduction. 3

    1-2 statement of the problem. 4

    1-3 research questions. 4

    1-4 The importance and necessity of research. 4

    1-5 research background. 5

    1-6 research objectives. 5

    1-7 research hypotheses. 5

    1-8 limits and scope of the research. 5

    Chapter Two: Theoretical Foundation

    2-1 Lexical definition of poetry 7

    2-2 Ancient definitions about poetry 7

    2-3 New definitions about poetry 8

    2-4 The most famous forms of traditional poetry: 8

    2-5 The course of using poetic forms in some stylistic periods until the sixth century: 9

    2-6 Poetry style and its types in Persian language. 11

    2-6-1 Khorasani style. 12

    2-6-2 Azerbaijani style. 13

    2-7 literary types and their history in Persian poetry. 14

    2-7-1 The lexical and terminological definition of Ghanaian literature: 16

    2-7-1-1 Themes and forms of Persian Ghanaian poetry. 16

    2-8 The use of nature elements in Persian poetry styles until the 6th century of Hijri. 18

    2-8-1 Division of nature. 20

    2-9 image 21

    2-9-1 lexical definition of image (image) 21

    2-9-2 semantic definition of image 21

    2-10 tools of imagery from a literary point of view. 22

    2-10-1 Spiritual industries. 22

    2-10-1-1 analogy. 22

    2-10-1-2 truth and permissible 23

    2-10-1-3 permissible interest of the sender and metaphor 24

    2-10-1-4 irony. 24

    Chapter 3: Hakim Nizami's status and works

    3 1 Description of Hakim Nizami's status. 26

    3 2 Character of Hakim Nizami. 27

    3 3 The works of Hakim Nizami. 27

    3 3 1 Makhzan al-Asrar 28

    3 3 2 Khosrow and Shirin. 28

    3 3 3 Lily and Majnoon. 29

    3 3 4 Heptepikar 29

    3 3 5 Iskandarnameh. 30

    3 4 Hakim Nizami style. 30

    3 5 description of nature in Hakim Nizami's poem. 31

    Chapter 4: Examining the elements of nature in Khosrow, Shirin, Laili, and Majnoon Nizami

    4 Examining the elements of nature in Khosrow, Shirin, Laili, and Majnoon Nizami. 34

    4-1 terrestrial nature. 34

    4-1-1 water. 34

    4 1 1 1 Using the element of water in making similes. 34

    4-1-1-2 use of water element in the construction of metaphor 39

    4 1-1 3 use of the water element in the permitted construction 43

    4 1 1 4 use of the water element in the construction of irony. 44

    4 1 1 5 Using the element of water in the true sense. 45

    4-1-2 fire. 47

    4-1-2-1 Using the element of fire in the construction of similes. 47

    4 1-2 2 use of the element of fire in the construction of metaphor 49

    4 1 2 3 use of the element of fire in the construction of permission 51

    4 1 2 4 use of the element of fire in the construction of irony. 51

    4 1 2 5 Using the element of fire in the true sense. 51

    4 1 3 Wind 52

    4 1 3 1 Using the element of wind in simile construction. 52

    4 1-3 2 Using the wind element in the construction of metaphor 54

    4 1-3 3 Using the wind element in the permitted construction 54

    4 1 3 4 Using the wind element in the construction of irony. 55

    4 1 3 5 Using the wind element in the true sense. 55

    4 1 4 soil. 56

    41 4 1 Using the element of soil and earth in making similes. 56

    4 1 4 2 use of the element of soil and earth in the construction of metaphor 56

    4 1 4 3 use of the element of soil and earth in the permitted construction 59

    4 1 4 4 use of the element of soil and earth in the construction of irony. 61

    4 1 4 5 using the element of soil and earth in the true sense. 61

    4 1 5 mountains, plains and deserts 63

    4 1 5 1 use of elements of mountains, plains and deserts in similes. 63

    4-1-5-2 Using the elements of mountains, plains and deserts in the construction of metaphors 65

    4 1 5 3 Using the elements of mountains, plains and deserts in the permitted construction 66

    4-1-5-4 Using the elements of mountains, plains and deserts in the construction of irony. 67

    4 15 5 Using the elements of mountain, plain and desert in the real sense. 67

    4 1 6 time. 68

    4 1-6 1 Using the element of time in simile construction. 69

    4 16 2 Using the element of time in the construction of metaphor 71

    4 6 3 Using the element of time in the construction of permitted 72

    4 16 4 Using the element of time in the construction of irony. 74

    4 1-6 5 Using the element of time in the real sense. 74

    4 1 7 stones and their precious types. 78

    4 17 1 Using the element of stone and its precious types and oysters in making similes. 78

    4 1 7 2 Using the stone element and its precious types and oysters in making metaphors 81

    4 1. 78

    4 1 7 2 Using the element of stone and its precious types and shells in the construction of metaphor 81

    4 1 7 3 Using the element of stone and its precious types and shells in the permitted construction 85

    4 1 7 4 Using the element of stone and its precious types and shells in the construction of irony. 86

    4 1 7 5 Using the stone element and its precious types in the real sense. 87

    4 1 8 trees. 89

    4 1 8 1 Using the elements of trees and gardens in making similes. 89

    4 1 8 2 Using the element of trees and garden in the construction of metaphor 92

    4 1 8 3 Using the element of trees and garden in the construction of permission 95

    4 1 8 4 Using the element of trees and garden in the construction of irony. 96

    4 1 8 5 1 Using the elements of trees and gardens in the real sense. 96

    4 1 9 flowers and other plants 97

    4 1 9 1 using the elements of flowers and plants in making similes. 97

    4 1 9 2 Using the element of flowers and plants in the construction of metaphor 103

    4 1 9 3 Using the element of flowers and plants in the construction of the permissible 109

    4 19 4 Using the element of flowers and plants in the construction of irony. 112

    4 1 9 5 using the element of flowers and plants in the real sense. 113

    4 1 10 Fruits 113

    4 1 10 1 Using the element of fruit in simile construction. 114

    4 1 10 2 use of the element of fruit in the construction of metaphor 116

    4 1 10 3 use of the element of fruit in the permitted construction 118

    4 1 10 4 use of the element of fruit in the real sense. 118

    4 1 11 animals. 118

    4 1 11 1 The use of animal elements in making similes. 118

    4 1 11 2 Using the element of animals in the construction of metaphor 123

    4 1 11 3 The use of the element of animals in the permitted construction 125

    4 1 11 4 The use of the element of animals in the construction of irony. 126

    4 1 11 5 Using the element of animals in the real sense. 127

    4 1 12 birds and insects. 129

    4 1 12 1 Using the elements of birds and insects in making similes. 129

    4 1 12 2 Using the element of birds and insects in the construction of metaphor 134

    4 1 12 3 Using the element of birds and insects in the permitted construction 136

    4 1 12 4 Using the element of birds and insects in the construction of irony. 137

    4 1 12 5 Using the element of birds and insects in the real sense. 137

    4 2 Astrological nature. 138

    4 2 1 celestial elements. 138

    4 2 1 1 Use of celestial elements in simile construction. 138

    4 2 1 2 Use of celestial elements in metaphor construction 144

    4 2 1 3 Use of celestial elements in permissible construction 149

    4 2 1 4 Use of celestial elements in irony construction. 152

    4 2 1 5 Use of astronomical elements in the real sense. 153

    Chapter Five: Conclusion and suggestions

    Conclusion and suggestions. 155

    Resources

    Source:

    1. Ashuri, Dariush (1377) Poetry and Thought. 1st edition, Tehran: Na?r al-Karzan;

    2. Ahmadnejad, Kamel (1375) Analysis of Ganjavi's military works. Second edition, Tehran: Paya Publications;

    3. Brahni, Reza (1371) Gold in copper. First edition, Tehran: Firdous Publishing;

    4. Parsapour, Zahra (1383) Comparison of epic and lyrical language based on Iskandernameh and Khosrow and Shirin Nizami. Tehran: University of Tehran Press;

    5. Pour Namdarian, Taghi (1390) Travel in May. Tehran: Sokhon Publishing; 6. Tajleel, Jalil (1376) Meanings and expressions. 8th edition, Tehran: Academic Publishing Center;

    7. Tharwat, Mansour (1372) The collection of articles of the international Gangreh commemorating the 9th century of Hakim Nizami's birth. Tabriz: Tabriz University Press;

    8. Haqshanas, Ali Mohammad, Samei, Hossein and others (1387) contemporary English-Persian culture of Hazara. Tehran: Contemporary Culture;

    9. Hamidian, Saeed (1372) Utopia of beauty, speeches in the style of military expression. Tehran: Ghatre Publishing;

    10. Khan Mohammadi, Mohammad Hossein (1384) Alam Badi. Qom: Mehr Amirul Mominin Publications;

    11. Dodd, Sima (2010) Dictionary of Literary Terms. 5th edition, Tehran: Marwarid Publications; 12. Deliri Malvani, Ebrahim (1381) Persian Prose and Poetry Stylistics. First edition, author's publisher; 13. -, - (1375) Sakhan Salar Ganja and his imitators. The first c. Second edition, Rasht: Taati Publications; 14. Dehkhoda, Ali Akbar (1347) Dehkhoda dictionary. Tehran: University of Tehran;

    15. Razi, Shams al-Din Muhammad bin Qays (1373) al-Ajam in the criteria of al-Ajam poems. By the efforts of Cyrus Shamisa. Tehran: Ferdous Publications;

    16. Razmjo, Hossein (1385) Literary types and their works in literary language. Tehran: Press of Ferdowsi University of Mashhad;

    17.

Examining the elements of nature in Khosrow, Shirin, Laili, and Majnoon Nizami Ganjavi
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