دانشگاه سیستان و بلوچستان پژوهشنامه ادب غنایی 2008-5737 24 46 2026 03 21 Rereading the Poem “Al-ʿĀral-Ladhī Nattaqīhi” by Amal Dunqul based on Pierre Giraud’s theory of Codes and Jung’s Theory of Archetypes بازخوانی سروده «العار الّذی نتقیه» از أمل دنقل بر پایه نظریه رمزگان‌ زیبایی‌شناختی پی‌یر گیرو و نظریه کهن الگوی یونگ 5 20 9217 10.22111/jllr.2025.51042.3317 FA ابوالحسن امین مقدسی استاد گروه زبان و ادبیات عربی دانشگاه تهران(نویسنده مسئول) کوثر بهمن آبادی دانش‌آموخته کارشناسی ارشد زبان و ادبیات عربی، دانشگاه تهران، تهران، ایران. Journal Article 2025 02 20 This study analyzes Amal Dunqul’s poem “Al-ʿĀr al-Ladhī Nattaqīhi” through a semiotic approach, using Pierre Guiraud’s theory of aesthetic codes and Jung’s archetypal theory. The research aims to explore the system of signs shaping the poem and to examine how it conveys concepts such as national identity, betrayal, and the reconstruction of collective relations. Using a descriptive-analytical method, the study offers a close reading of the poem in light of Guiraud’s code theory. The analysis shows that Dunqul’s poem is not merely a literary text but a reflection of social struggles, aspirations, and collective ideals in modern Arab poetry. Through symbolic and linguistic elements, the poet invites reflection on both personal and national responsibility. The poem also serves as a powerful document of identity crisis and national concern in the Arab world. Dunqul’s use of linguistic codes, binary oppositions (e.g., death/life, betrayal/loyalty), and archetypes such as the “Mother” (as the nation) and the “Wise Old Man” (as collective wisdom) creates a layered depiction of Egypt’s psychological and social condition after the 1967 defeat. These archetypes play a central role in shaping the poem’s meaning and emotional depth. Extended abstract 1. Introduction Lyric poetry is one of the oldest literary forms, with roots tracing back to ancient civilizations such as Egypt, Greece, and the Arab world. It has traditionally been intertwined with music and personal emotion (Al-Ekhtiar, 1955: 3–6). Unlike epic or dramatic poetry, the lyric form reflects the direct feelings and thoughts of the speaker, with a clear presence of the poet’s “I” (Kouhestanian, 2023: 219). Although personal experiences in lyric poetry are transformed through artistic language and structural elements, the connection between poet and audience—whether listener or reader—has always played a fundamental role. With the advent of Romanticism and the rise of modern poetry, this connection evolved from overt expression to more introspective and internalized tones (Anani, 2023: 51–52). Despite their strong social and political undertones, the poems of Amal Dunqul often resonate with lyricism due to their emotive and personal language. Through symbolic expression, he transforms individual emotions—such as sorrow, hope, and pain—into shared artistic experiences. This transformation is a core feature of lyric literature and grants his poetry a lasting human and emotional depth. Dunqul, as a committed and critical voice, employs a symbolic language to portray complex issues and fundamental challenges within Arab society, thereby earning a distinctive and influential place in contemporary Arabic poetry. His poem “Al-ʿĀr al-Ladhī Nattaqīhi” (The Shame We Avoid), from the collection Maqtal al-Qamar, exemplifies his ability to craft multilayered poetic structures rich in semantic signs. Through the use of symbols, poetic imagery, and cultural references, the poem offers fertile ground for interpretive and semiotic analysis. Dunqul’s blending of the personal with the collective reflects not only his lyrical sensibility but also his broader engagement with national and existential questions in the modern Arab world. In order to reach scientific results, the present study raises the following questions: How is the significance of the aesthetic codes of the poem manifested? 2.Which codes play a more prominent role in the poet's poem and how can this prominence be interpreted? 2. Research Methodology The present study, which was conducted using a descriptive-analytical method and citing library sources, attempts to analyze and examine the hidden semantic layers of the poem “Al-ʿĀr al-Ladhī Nattaqīhi” by Amal Dunqul, using the theory of aesthetic codes of Pierre Giraud's three codes (logical, aesthetic, and social). This study attempts to identify and interpret the appearance of social and aesthetic signifiers in the text of the poem through a careful reading of the semantic and semiotic structures. 3. Discussion and Results The poem “Al-ʿĀr al-Ladhī Nattaqīhi” by Amal Dunqul is one of the prominent works in contemporary Arabic literature, raising profound and intricate questions about national identity, betrayal of the homeland, and the reconstruction of collective relationships. This poem, grounded in aesthetic codes—particularly archetypes and semantic oppositions—mirrors the socio-political crises of the poet’s nation. According to Pierre Guiraud, imagination plays a crucial role in activating archetypes within aesthetic codes. That is, the archetype flows unconsciously through the poet’s imaginative process into the poetic text, and it is through these aesthetic codes that readers perceive and interpret the embedded archetypal structures (Guiraud, 2020: 132). The central concern of this study is to analyze the structural and thematic dimensions of Dunqul’s poem with a particular focus on its aesthetic coding and symbolism, in order to uncover its latent semantic layers and psychological resonance. The research seeks to explore how the poet employs archetypes such as the “Mother” and the “Wise Old Man,” as well as core binary oppositions—life/death, loyalty/betrayal, insider/outsider—to articulate emotional and national transformations. The necessity of this research arises from the idea that aesthetic codes in Dunqul’s poetry are not only expressive tools for personal emotion but also representational mechanisms for collective and historical experiences. Adopting a qualitative approach and textual content analysis, this study draws its data from the poem itself and interprets its conceptual structure based on Pierre Guiraud’s theory of aesthetic codes. Findings reveal that Dunqul portrays the deep socio-political contradictions of his society through the “Mother” archetype as a symbol of the nation, and the “Wise Old Man” as an embodiment of national wisdom (Jung, 1989: 112). In addition, the poem’s semantic contrasts establish a system of semiotic dualities that highlight key concepts such as identity, betrayal, and the renewal of the homeland. Ultimately, the poem serves as a notable example of social romanticism, artistically reflecting the psychological and emotional experiences of a people confronting national crisis. 4. Conclusion This study analyzed Amal Dunqul’s poem “Al-ʿĀr al-Ladhī Nattaqīhi” using Pierre Guiraud’s theory of aesthetic codes, with a focus on symbolic structures and archetypes. The findings revealed that the poem’s core meaning emerges through layered aesthetic codes, particularly via archetypal figures and semantic oppositions. The “Mother” archetype serves as the central symbolic axis in the poem, representing the nation in both its vulnerable and transformative states. Initially, the mother symbolizes abandonment and betrayal—suggesting a failure in national responsibility. However, the poem later reframes this image by invoking potential restoration and protective agency, as seen in lines that evoke both despair and renewed duty. This shift reflects a movement from loss toward collective awakening and responsibility. The “Wise Old Man” archetype also appears as a guiding figure, representing political wisdom and the possibility of returning to shared cultural values. Together, these archetypes construct a dynamic code system that bridges personal emotion and historical consciousness. Additionally, semantic binaries such as life/death, betrayal/loyalty, and insider/outsider amplify the tension within the poem, reinforcing themes of identity, exile, and moral choice. Among the aesthetic codes analyzed, the “Mother” archetype was found to play the most prominent role. Its emotional depth, cultural resonance, and symbolic flexibility make it an especially potent code for expressing national trauma and the hope for regeneration. Dunqul’s strategic use of this archetype activates both collective memory and individual sentiment, engaging readers at multiple psychological levels. The poem exemplifies social romanticism, combining emotional lyricism with political critique. Dunqul’s symbolic language and aesthetic structure transform personal anguish into a collective call for renewal. His poetry thus transcends mere individual expression, offering a vision of national introspection and future reconstruction. By decoding the aesthetic systems within Dunqul’s work, this study highlights how symbolic archetypes and oppositions serve as powerful tools for representing complex socio-political realities. The findings contribute to a deeper understanding of contemporary Arabic literature and demonstrate the value of semiotic-literary analysis in interpreting modern poetic texts. 5. References Al-Ekhtiar, N. (1955). The Art of Singing Among the Arabs, Beirut: Dar Beirut. Anani, M. (2023). Literature and Art, United Arab Emirates: Al-Hindawi Foundation. Barthes, R. (2023). An Introduction to the Structural Analysis of Narratives and Wrestling with the Angel, translated by Mohammad Ragheb, second edition, Tehran: Qoqnoos. Bahar, M. (2002). From Myth to History, Tehran: Cheshme. Campbell, J. (1998). The Power of Myth, translated by Abbas Mokhbar, Tehran: Markaz. Chandler, D. (2023). Fundamentals of Semiotics, translated by Mehdi Parsa, 8th edition, Tehran: Soure Mehr. Cuddon, J. A. (2013). A Dictionary of Literary Terms and Literary Theory. Wiley-blackwell Publication. Danesi, M. (2013). Understanding Media Semiotics. Second Edition, Bloomsbury Publishing. Dekhia, F. (2022). "Ashkal al-Almaz and its aesthetics in the poetry of Amal Danqul", Journal of Arabic Language and Literature, Volume 14, Number 2, 649-637. Guiraud, P. (2020). Semiotics, translated by Mohammad Nabavi, Tehran: Aghah. Jawari, M. H. (1995). Myth in Comparative Literature, Myth and Literature, Tehran: Samt. Jung, C. G. (1989). Four Exemplary Forms, translated by Parvin Faramarzi, Mashhad: Astan Quds Razavi. Kohistanian, A. (2023). The Origins of Lyrical Themes in the Poetry of Khaghani, Research on Lyrical Literature, Volume 21, Issue 40, pp. 228-211. Kulit, A. (2012). The Legend of Oedib, translated by: Ziad Al-Awda, Damascus: Al-Hiyah Al-Aaa'e Al-Suriyeh Book List. Makaryk, I. R. (2014). Encyclopedia of Contemporary Literary Theories, translated by Mehran Mohajer and Mohammad Nabavi. Tehran: Agah. Mirzaei, H. Arman, S. E. (2013), "The mythic interpretation of Amal Dangul's poetry", Al-dirasato almoaaserah, Year 3, Issue 9, pp: 153-171. Najafi Ayyoki, A., Saeedi, F. (2015), "The Legend of Oedib in Contemporary Iraqi Poetry", Journal of Arabic Language and Literature, Year 11, pp: 109-124. Propp, V. (1989). Morphology of Fairy Tales, translated by Fereydoun Badrei, Tehran: Toos. Schultz, D., Schultz, S. (2008). Theories of Personality, translated by Yahya Seyyed Mohammadi, Tehran: Wirayesh Publication. Sebeok, T. (2012). Signs: An Introduction to Semiotics, translated by Mohsen Nobakht, Tehran: Elmi Publishing. Sojoodi, F. (2008). Applied Semiotics, Tehran: Elmi Publication. Tanha, F., Hajizadeh, M., Moghaddisi, A. A., Ghaibi, A. A. (2023). Semiotic analysis of the poem “Al-Mutanabbi” by Jawad al-Hattab based on the semiotic theory of Michael Rifater’s poetry, Journal of Lyrical Literature Researches, Volume 21, Issue 40, pp. 5-22. Vogler, C. (2007). Mythical Structure in Story and Screenplay, Translated by: Abbas Akbari, Tehran: Niloufar Publications. این پژوهش به بررسی سروده «العار الّذی نتقیه» از أمل دنقل، شاعر برجسته معاصر عرب، با رویکردی نشانه‌شناختی و بر اساس نظریه رمزگان زیبایی‌شناختی پییر گیرو می‌پردازد. هدف اصلی آن کشف نظام رمزگانی حاکم بر شعر و تبیین بازنمایی مفاهیمی چون هویت ملی، خیانت به وطن و بازسازی روابط جمعی است. روش تحقیق مقاله، توصیفی-تحلیلی بوده و با تحلیل دقیق متن شعر و انطباق آن با نظریه رمزگانی گیرو انجام شده است. تحلیل نشانه‌شناختی سروده نشان می‌دهد که شعر دنقل را نمی‌توان صرفاً یک اثر ادبی به‌شمار آورد، بلکه بازتابی از رنج‌ها، آرزوها و آرمان‌های رمانتیک اجتماعی در شعر معاصر عرب است. شاعر با ترکیب هنرمندانه عناصر زبانی و نمادین، مخاطب را به تفکر درباره مسئولیت فردی و جمعی در برابر میهن و تاریخ سوق می‌دهد. این سروده، علاوه بر ارزش ادبی، سندی گویای از بحران هویت و دغدغه‌های ملی در جهان عرب معاصر محسوب می‌شود. نتایج پژوهش نشان می‌دهد که دنقل با بهره‌گیری از رمزگان‌های زبانی، تقابل‌های معنایی (مانند مرگ/زندگی، خیانت/وفاداری) و کهن‌الگوهای نمادین (مادر، پیر فرزانه)، تصویری چندلایه از وضعیت اجتماعی و روانی مصر پس از شکست ۱۹۶۷ ارائه می‌دهد. کهن‌الگوی «مادر» به‌عنوان نماد ملت و «پیر فرزانه» به‌عنوان خرد جمعی، نقش محوری در ساختار معنایی شعر دارند.

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دانشگاه سیستان و بلوچستان پژوهشنامه ادب غنایی 2008-5737 24 46 2026 03 21 A New look at Hilālī Jaghata’ī-ye Esterābādi's Qasides نگاهی تازه به قصیده ای از هلالی جغتایی استر آبادی 21 38 9605 10.22111/jllr.2025.52819.3354 FA وحید برزگر قهفرخی گروه زبان و ادبیات فارسی، واحد شهرکرد، دانشگاه آزاد اسلامی، شهرکرد، ایران اصغر رضاپوریان گروه زبان و ادبیات فارسی، واحد شهرکرد، دانشگاه آزاداسلامی ، شهرکرد، ایران. محمد حکیم آذر گروه زبان و ادبیات فارسی، واحد شهرکرد، دانشگاه آزاد اسلامی، شهرکرد، ایران.. Journal Article 2025 08 02 Hilālī Jaghata’ī is one of the poets of tenth century AH, . One of Hilālī’s few known qasidas—frequently mentioned in the tazkeras—is the qasida he composed in praise of ʿUbaydullāh Khān Uzbek. Two different views regarding this qasida have thus far been proposed in the tazkeras. This study aims to critique both existing viewpoints and presents new verses—found in the Jung-e Sharaf and the tazkera Nafāʾis al-Maʾāthir—to reassess the first group’s claim that the qasida was composed on the arrival of ʿUbaydullāh Khān. It further proposes the possibility that the poem was in fact composed in the mode of iʿtidhār (poetic apology), intended as a plea for forgiveness and a means for escaping from death.‌ Accordingly, this study tries to address two key questions: How can the newly found verses of the qasida in praise of ʿUbaydullāh Khān Uzbek contribute to a clearer understanding of the poet’s intent? And how does this qasida relate to the tradition of apologetic poetry? Employing a descriptive–analytical method and relying on library sources and documents, the study then introduces the rhetorical technique of iʿtidhār and offers a brief overview of its background in Persian literature. Introduction The collected works of many poets have been published across different periods; however, with the discovery of manuscripts closer to the poet’s lifetime, new critical editions may emerge, resulting in the addition or removal of verses from their divans. During the Timurid era (771–911 AH), the sheer number of poets and their works is particularly noteworthy. In this period, which spans the eighth and ninth centuries AH, not only were many poets added to the history of Persian literature, but numerous biographical anthologies (tazkeras), miscellanies (safīnas), and poetic anthologies (jungs) were also produced in manuscript form by poets and writers, enriching the repository of written works. Among these, jungs and safīnas have played an important role both in identifying the works of poets whose divans had never been compiled and in remedying deficiencies in the divans of poets whose collected works had become incomplete or lost. These manuscripts have also been instrumental in shedding light on many historical events previously shrouded in ambiguity. Since many manuscript sources—such as safīnas and jungs—survive as unique, standalone copies, and since their scribes seem to have prioritized the tastes and preferences of the audience of their own time, these works are valuable for understanding the literary inclinations of the period in which they were compiled. On the other hand, certain flaws are also evident in such materials. In some jungs and safīnas, scribes, either to present a greater variety of poems by a single poet or to include samples from more poets in the collection, attempted to shorten poems by removing some verses, producing abbreviated versions of ghazals and qasidas. This issue can be resolved by collating multiple manuscript witnesses, thereby allowing the reconstruction of a more complete form of the poems. Among the notable poets of the tenth century whose poetry has suffered from such complications is Hilālī Jughātāyī Astarābādī. Although Hilālī’s divan was printed several times in India and later edited and published in Iran by Professor Saeed Nafisi, limited access to additional manuscripts introduced weaknesses into that edition. Aside from Hilālī’s Laylī u Majnūn mathnavi, which has not yet been critically edited or published, his qasidas also appear to warrant serious scholarly attention. Research on Hilālī’s qasidas has not been conducted as thoroughly as it should, and since only four qasidas are present in the manuscripts examined by Nafisi, safīnas and jungs can serve as valuable resources in advancing this line of study. 2- Research methodology The present study has been conducted using an analytical–descriptive method based on library research. Since part of the findings derives from manuscript sources, a portion of this research has been carried out on the basis of editing a handwritten manuscript. 3- Discussion Most biographical compilers who have mentioned the account of Hilālī’s murder at the hands of ʿUbaydullāh Khān have believed that, after the Uzbek ruler seized control of Khurasan, he first brought Hilālī into his service, but the intrigues of envious rivals led him to have the poet killed in the Chahārsūq of Herat. Ḥasan Beg Rūmlū, while noting the treachery of the envious toward Hilālī and their efforts to erase him from the pages of history, considers Hilālī’s Shianess to have been the pretext by which ʿUbaydullāh Khān and his associates sent him to his death (see Rūmlū, 1957: 291). Riżāqolī Khān Hedāyat in Riyāż al-ʿĀrifīn, Shaykh Abū’l-Qāsem Anṣārī in Salm al-Samāwāt, and Sām Mīrzā in Tuhfat-e Sāmī likewise maintain that Hilālī was executed for being a Shiite. (see Hedāyat, 1926: 238; Anṣārī, 1961: 398; Sām Mīrzā, 1935: 94). Ẓabīhullāh Ṣafā, in his History of Persian Literature, echoes the view of Sām Mīrzā and repeats the same account (see Ṣafā, 1984, vol. 4: 433). Others, such as Eskandar Beg Monshī in Tārīkh-e ʿĀlam-ārā-ye ʿAbbāsī, recount that a satirical poem Hilālī composed against ʿUbaydullāh Khān—and which eventually reached the Uzbek ruler—was the cause of the poet’s death (Rūmlū, 1957: 294). Upon seeing this poem, ʿUbaydullāh Khān ordered Hilālī’s arrest and imprisonment, and in the end had him executed in the Chahārsūq of Herat (Eskandar Monshī, 1935: 43). The splendid qasida Hilālī had earlier composed in praise of ʿUbaydullāh (the very qasida examined in this study) was of no avail, and the ruler nevertheless commanded the poet’s execution. Hilālī’s well-known qasida in praise of ʿUbaydullāh Khān Uzbek contains thirteen verses in Hilālī’s printed divan. However, in the Jung-e Sharaf it appears in nineteen verses (Sharaf, n.d.: 55), and in the biographical anthology Nafāyes al-Maʾāther it is recorded in twenty verses (Kāmī Qazvīnī, 2016: 608). By combining the verses found in these two sources, the qasida consists of a total of twenty-three verses. 4- Conclusion Regarding Hilālī’s well-known qasida composed in praise of his own killer, ʿUbaydullāh Khān Uzbek, two general views have been proposed. Some scholars hold that the poem was written in honor of ʿUbaydullāh Khān upon his arrival in Khurasan after its conquest. Others believe that Hilālī composed it in an attempt to appease ʿUbaydullāh Khān after having angered him with satirical verses, though the effort ultimately proved futile. Several biographical compilers likewise attribute the poet’s execution at the order of ʿUbaydullāh Khān to Hilālī’s adherence to Shiʿism. An examination of the newly identified verses of Hilālī’s celebrated qasida in praise of ʿUbaydullāh Khān Uzbek—preserved in Jung-e Sharaf and Nafāyes al-Maʾāther—greatly strengthens the likelihood that the poem was not composed to welcome ʿUbaydullāh Khān to Khurasan, but is instead an example of poetic apology (shiʿr-e eʿtezār)—a qasida written to seek forgiveness and escape the ruler’s anger and punishment. This issue, which had long remained a point of disagreement in historical and biographical sources, becomes considerably clearer with the addition of these newly found verses and the evidence presented above, increasing the probability that the poem was composed as an attempt to avert the wrath of the Uzbek khan. Since the version of this qasida printed in Hilālī’s divan edited by Saeed Nafisi contains far fewer verses—and given that we identified one verse present in the divan but absent from Jung-e Sharaf and Nafāyes al-Maʾāther, as well as verses appearing in Jung-e Sharaf but not in Nafāyes al-Maʾāther, and vice versa—it is highly probable that the verses presented here as “new findings” do not constitute the complete text of the qasida. Moreover, a review of Hilālī’s newly discovered qasidas indicates that most of his qasidas contain more than thirty-five verses, and thus it seems unlikely that a “splendid” qasida—especially one composed in a desperate bid to save his own life—would consist of only twenty-one verses. A systematic examination of jungs and biographical anthologies, particularly those dating from or close to the tenth century AH, will likely yield additional verses of this qasida in the future. 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Jang-e Nazm – Muntakhab-e Ashʿār-e Shoʿarā – Part of the Dīvān of Jāmī – Yūsuf o Zoleykhā-ye Jāmī, Manuscript No. 86720. Tehran: Library, Museum, and Document Center of the Islamic Consultative Assembly. Ṣafā, Ẓabīḥullāh. (1984). Tārīkh-e Adabīyāt dar Īrān, Vol. 4. Tehran: Ferdows. Ḍayf, Shawqī. (2014). Tārīkh al-Adab al-ʿArabī (al-ʿAṣr al-Jāhilī), trans. Alireza Zakāvatī Qorāqzlū. Tehran: Amīr Kabīr. ʿOnṣor al-Maʿālī, Keykāvus b. Eskandar. (1933). Qābus-nāmeh, ed. and introduction by Saeed Nafisi. Tehran: Maṭbaʿa-ye Majles. Kāmi Qazvīnī, ʿAlāʾ al-Dowleh. (2016). Tazkera-ye Nafāyes al-Maʾāther, ed. and critical edition by Saeed Shafīʿīyūn. Tehran: Library, Museum, and Document Center of the Islamic Consultative Assembly & Islamic Azad University Press. Kamāl al-Dīn Esmāʿīl, Abū’l-Fażl. (1969). Dīvān-e Kamāl al-Dīn Esmāʿīl, ed. Hossein BahrolʿOlūmī. Tehran: Ketābfrooshi-ye Dehkhodā. Golchin Maʿānī, Ahmad. (1963). “A Document Concerning Hilālī and His Grave, Published for the First Time,” Yaghmā, No. 180, July 1963, 157–160. Gopāmoy, Mohammad Qodrat-Allah. (2008). Tazkera-ye Natāyej al-Afkār, ed. Yusef Beyg Bābāpūr. Qom: Majmaʿ al-Żakhāyer al-Eslāmī. Mohammad Ṣeddīq Khān Bahādur. (2007). Tazkera-ye Shamʿ al-Anjoman, ed. Mohammad-Kāẓem Kahdūʾī. Yazd: University of Yazd Press. Modarres, Mirza Mohammad-Ali. (1995). Reyḥānat al-Adab, Vol. 6, 4th ed. Tehran: Khayyām. Vāleh Dāghestānī, ʿAliqolī b. Mohammad-ʿAli. (2005). Tazkera-ye Riyāż al-ʿĀrefīn, introduction, critical edition, and research by Mohsen Nāji Naṣrābādī, Vol. 4. Tehran: Asātīr. Hedāyat, Reżāqolī Khān. (1926). Riyāż al-ʿĀrefīn, with the efforts of Mollā ʿAbd al-Ḥossein and Mollā Mahmūd Khvānsārī. Tehran: [Place of publication not specified]. Hilālī Jughātāyī, Badr al-Dīn. (1996). Dīvān-e Hilālī Jughātāyī, ed. Saeed Nafisi, 3rd ed. Tehran: Sanāʾī. هلالی جغتایی از شاعران دهم است، در دیوان تصحیح‌شده‌ی وی تنها چهار قصیده از این شاعر می‌بینیم که برخی از آن‌ها کامل هم نیستند. یکی از این قصاید، قصیده‌ایست که در مدح عبیدالله خان ازبک سروده است. در مورد این قصیده تاکنون دو نظر در کتب تذکره مطرح‌ شده است. در این پژوهش سعی بر آن است که ضمن نقد نظر دو گروه و ارائه‌ی ابیات نویافته‌ که به مدد جُنگ شرف و تذکره‌ی نفایس‌المآثر حاصل شده، نظر گروه نخست مبنی بر سرایش قصیده در مقدم عبیدالله خان نقد شود و این احتمال پیش کشیده شود که این قصیده به شیوه‌ی اعتذار و برای عذرخواهی و رهایی هلالی از مرگ سروده شده است. بدین منظور در پی پاسخ دادن به این دو پرسشیم که: ابیات نویافته‌ی قصیده‌ی مدح عبیدالله خان ازبک چگونه می‌تواند به درک بهتری از قصد شاعر از سرودن قصیده کمک کند؟ و نسبت قصیده‌ی مدح عبیدالله خان با شعر اعتذاری چگونه است؟ در ادامه به روش توصیفی تحلیلی و با تکیه بر منابع و اسناد کتابخانه‌ای به معرفی فن اعتذار می‌پردازیم و به سابقه‌ی آن در ادب فارسی اشاراتی می‌‌کنیم.

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دانشگاه سیستان و بلوچستان پژوهشنامه ادب غنایی 2008-5737 24 46 2026 03 21 Psychological Criticism of the Element of Love in the Novel "A Quiet Lover" by Nader Ebrahimi with Emphasis on Carl Rogers' Theory of the Fully Functioning Person بررسی روانشناختی عنصر عشق در رمان یک عاشقانۀ آرام اثر نادر ابراهیمی با تأکید بر نظریۀ کنش کامل کارل راجرز 39 54 9093 10.22111/jllr.2025.50848.3304 FA زینب برزگرماهر فارغ التحصیل دکتری رشته زبان و ادبیات فارسی دانشگاه محقق اردبیلی، اردبیلف ایران (نویسنده مسئول) 0000-0002-8076-0813 خدابخش اسداللهی استاد گروه زبان و ادبیات فارسی دانشگاه محقق اردبیلی 0000-0002-6656-578X Journal Article 2025 01 18 Carl Rogers, a humanistic psychologist, proposed five key components in his theory to define the concept of the fully functioning person, emphasizing individuals’ experiential fields. This study, employing Rogers’ framework, critically analyzes Nader Ebrahimi’s novel *A Quiet Love* through a descriptive-analytical approach, addressing the question: How does love in *A Quiet Love* correspond with Rogers’ concept of the fully functioning person? The findings indicate that openness to experience plays a crucial role in maintaining the freshness of love in the novel. Love is inherently tied to the organismic nature of individuals, reflecting innate human emotions. The novel highlights a strong inclination toward freedom, particularly in the beloved’s actions, emphasizing that love must unfold within a framework of respect for individual differences. The romantic perspective on life’s simple and ordinary moments, in line with Rogers’ model, signifies a life-affirming approach to love within the narrative of the Iranian couple. Furthermore, creativity, regarded as the most mature behavioral characteristic in the fully functioning person, manifests in various ways in their romantic relationship. Ultimately, love in *A Quiet Love* exhibits a meaningful connection with humanistic thought, Extended abstract 1. Introduction The element of love has long been a common and challenging issue in literature and psychology, and writers in both fields have presented distinct perspectives on this matter. Meanwhile, the literary genre of the novel, due to the presence of different and diverse types of fictional characters, is a favorable environment for the emergence of the element of love in interpersonal relationships of human beings. "A Quiet Lover" by Nader Ebrahimi is a realistic novel that deals with the element of love and its role in individual and social life and explores the hidden angles of this genuine human feeling to present a pristine and original image of love. A Quiet Lover narrates the life of an Iranian couple from the time they met and before marriage to middle age and old age. The present study seeks to answer this specific question: What are the characteristics of transcendent love in the novel A Quiet Lover, based on Rogers' theory? 2- Research Methodology The present study, first of all, introduces Carl Rogers' theory and the branches of perfect action using an analytical-descriptive method and relying on primary psychological sources; then, it examines and psychologically criticizes the element of romantic discourse that dominates Aram Ibrahimi's novel A Quiet Lover, relying on Carl Rogers' views in the perfect action model. 3-Discussion Love in the novel A Quiet Lover has a direct connection with the spirit of experience of the main characters of the novel (Honey and Gilehmard). Rogers writes about experience and its connection with the good life: “The process of living a good life is not a life for the timid; it involves further development and growth and the courage to be” (Rogers, 1961:96). Gilehmard emphasizes in explaining and describing the characteristics of love that the passage of time cannot diminish the luster of love; because if a new loving experience is added to life every day. Asal also considers the stability of love to be the continuity of emotional experience. He believes that if love remains in the form of a set of passive reminders and is separated from the living flow of experience; it loses its true nature. By emphasizing the fluid experience of love, he prevents feelings and emotions from being confined within a static framework. The romantic discourse of the novel observes the efforts of the main characters of the novel to maintain the freshness and freshness of love. Asal and Gilehmard, side by side, free themselves from everything that is outdated in their pursuit of “creating an inner order based on meaningful experiences” (Rogers, 2010: 39). Getting rid of old memories or old and outdated objects is an indication of the emotions experienced by the Iranian couple in the novel, a calm lover, and their conscious effort to continue the warmth of love: “A completely serious house-shaking, a house-shaking, to throw away everything that is outdated” (Ebrahimi, 2017: 71). According to the model of complete action, individual feelings and emotions are the greatest achievement of each person in his life; Emotions that differ from each other based on the experimental field of individuals and lead to a unique perspective of individuals towards life. Since the main theme in the novel is a quiet romance, the element of love, as one of the most important human emotions; it is obvious that the characters in the novel portray a coherent set of inner emotions throughout the text and have a specific emotional and emotional action towards the events of the novel. According to Rogers' model, those with complete action generally live in the moment and pay attention to all aspects of life. These individuals appreciate each and every moment of life and in order to feel happy or fortunate; a simple and natural look at the minor matters of life is also prominent in Asal's action. The phenomena of the universe, in Asal's view, are meaningful and linked to her authentic experience of life. She lives in the moment and makes the most of simple natural elements. Therefore, the emotion of love in the novel A Quiet Lover is connected and proportionate to very simple things in the lives of ordinary people. Ebrahimi reminds us from Gilehmard's words that moments that may seem simple and insignificant should not be underestimated; the desire for freedom from the behavioral characteristics of those who act completely corresponds to Rogers' model. Accordingly, the person must be free from dependence to express their ideas freely (Lawrence, 1993: 215). In various cases of the novel A Quiet Lover, the desire for free and liberated action is observed. Asal and Gilehmard - whose love life narrative is the main theme in this novel - depict the desire for freedom, freedom and choice in most situations of the text; love in the novel A Quiet Lover is defined in a context of freedom, freedom and choice. Regarding creative power, Rogers believes that creativity causes a person to be unbiased about their own assets and, if necessary, to be flexible and use an appropriate method to achieve results (Rogers, 2010: 24). In the love life of Asal and Gilehmard, there are various cases of creative behavior, innovation, and positive change. Love in the novel A Quiet Lover is a creative element that stems from their inherent capabilities; not predetermined teachings and previous assumptions 4-Conclusion Based on the results of this research, love in A Quiet Lover plays a central role in the formation of the novel's discourse and acts as a fundamental force in the narrative structure. Gilehmard and Asal, the main characters of the novel, experience love as a distinct psychological construct in line with individual evolution and growth with an active approach. According to Rogers' model, love in this novel is a phenomenon influenced by the organic nature of man and is formed in the context of emotions such as longing and shame. The natural emotions of the human species determine the path of internal development of the main characters of the novel. Gilehmard, by realizing his true self, and Asal, by expressing his feelings without embellishment, interpret love in connection with the natural life of man and depict it as a reflection of the process of self-knowledge and self-acceptance. Based on Rogers' model, the desire for freedom and autonomy is the characteristic feature of the beloved in this novel. Asal, while being affectionate towards Gilehmard, emphasizes principles such as maintaining individual independence in romantic relationships and tries to create a balance between emotional dependence and free will. In Gilehmard's thought, the connection between love and freedom is defined in a social and political concept and serves social ideals; something that takes love beyond a purely individual level and turns it into a platform for social activism. Experience is another behavioral characteristic of the Iranian couple in love in this novel, and it causes Asal and Gilehmard to protect the freshness and freshness of love over time by inventing and innovating in the conventional affairs of life. In this sense, love in the novel is depicted as a dynamic process that continues based on new and continuous romantic experiences in the interpersonal relationships of the Iranian couple. Creativity is a means of escaping from traditional and imposed molds in the lives of the main characters in the novel. Using their creative power, Asal and Gilehmard take steps towards personal and social transformation and find new ways to live in the face of external limitations. The results of the present study show that love in a quiet romance, as a possibility for social change, guides the main characters of the novel towards flourishing and realizing complete action; love in this novel has a meaningful connection with humanistic components such as freedom, human originality, and self-acceptance, and as a constructive force, it is influential in social and interpersonal relationships 5- Reference Bruno, Franco (1991). Descriptive Dictionary of Psychological Terms, translated by Mahshid Yasaei, Farzaneh Taheri, Tehran: Nahid. Ebrahimi, Nader (2017). A Quiet Love, Tehran: Roozbehan. Feist, Jess; Feist, Gregory (2013). Theories of Personality, translated by Yahya Seyed Mohammadi, Tehran: Arasbaran. Herbert, El Petri (2003). Abraham Maslow and Self-Actualization, translated by Jamshid Motahari, Scientific Journal of Ma'aref, 6/69. Lawrence, Parvin (1993). Psychology of Personality, Theory and Research, translated by Mohammad Jafar Jafari, Parvin Kadiour, Tehran: Rasa. Maddi, S.r. (1996). Personality Theories: A Comparative Analysis (6th Ed). California: Brookes Cole Publishing Company. Mazidi, Parvin; Yousef Fam, Alieh; Hoseinaei, Ali (2023). "Analysis of Emotions in the Stories of Mahmoud Dowlatabadi (The Novel The Colonel's Vacancy and Short Stories)." Research Journal of Lyric Literature, Vol. 22 (42). Prochaska, James; Norcross, John (2002). Psychotherapy Theories, translated by Yahya Seyed Mohammadi, Tehran: Roshd. Rogers, Carl (1961). On Becoming a Person: A Therapist's View of Psychotherapy, London: Constable. ISBN 978-1-84529-057-3. Rogers, Carl (2000). The Art of Being Human, translated by Mihan Milani, Tehran: Asim. Santrock, John. (2006). Educational Psychology, translated by Morteza Omidian, Yazd: Yazd University. Schultz, Duane (2005). Psychology of Personality, translated by Giti Khorshidl, Tehran: Peykan. Schultz, Sydney; Schultz, Duane (1996). History of Modern Psychology, translated by Ali Akbar Seif, Tehran: Roshd. Shilling, Lewis (2005). Theories of Counseling (Counseling Perspectives), translated by Khadijeh Arian, Tehran: Ettelaat. Siasi, Ali Akbar (1992). Personality Theories or Schools of Psychology, Tehran: University Press. Siyasi, Ali Akbar (1992). Theories of Personality or Schools of Psychology, Tehran: Tehran University Press. Taleghani, Narges; Hemmati, Fatemeh (2007). Carl Ransom Rogers: The Core of Personality Theory, Tehran: Danjeh Zarei, Fakhri; Mousavi, Seyed Kazem; Mohammadi Asayabadi, Ali (2021). "Examining the Need for Love in the Characters of Rudabeh and Manijeh Based on Maslow's Psychological Theory." Research Journal of Lyric Literature, Vol. 21 (40). کارل راجرز، روان‌شناس انسان‌گرا در نظریۀ خویش با تأکید بر میدان تجربی افراد، پنج مولفۀ مشخص جهت تعریف کنش کامل ارائه کرده است. پژوهش حاضر با بهره‌گیری از الگوی راجرز، رمان یک عاشقانۀ آرام نادر ابراهیمی را به شیوۀ تحلیلی-توصیفی به بوتۀ نقد نهاده و در پی پاسخگویی به این پرسش اصلی است که عشق در رمان یک عاشقانۀ آرام چه ارتباط و تناسبی با الگوی کنش کامل راجرز دارد؟ یافته‌های پژوهش نشان می‌دهد تجربه‌پذیری عامل موثر در حفظ تازگی و طراوت عشق در این رمان است. عشق، ارتباط مستقیم با ارگانیزم طبیعی افراد دارد و نمایانگر عواطف ذاتی نوع آدمی‌ست. در رمان حاضر، تمایل به آزادی به ویژه در کنش معشوق مشهود است و بر این نکته تأکید می‌کند که عشق‌ورزی باید در بستری از احترام به تفاوت‌های فردی رخ دهد. وجود نگاه عاشقانه نسبت به امور ساده و جزئی در زندگی روزمره مطابق با الگوی راجرز، حکایت از زندگی ِهستی‌بخش در کنش عاشقانۀ زوج ایرانی در رمان دارد. همچنین خلاقیت، به عنوان بالغ‌ترین شاخصۀ رفتاری در الگوی کنش کامل، در زندگی عاشقانۀ زوج ایرانی به اشکال گوناگون نمود یافته است.عشق در این رمان با نظام انسانگرایی ارتباط دارد

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دانشگاه سیستان و بلوچستان پژوهشنامه ادب غنایی 2008-5737 24 46 2026 03 21 Analytical Comparison of the Concept of Love in the Perspectives of Geoffrey Chaucer and Mikhail Naimy, with Emphasis on Two Short Stories: The Miller's Tale and The Cuckoo Clock مقایسه تحلیلی مفهوم عشق در نگاه جفری چاوسر و میخائیل نعیمه با تاکید بر دو داستان کوتاه آسیابان و ساعت کوکو 55 74 9188 10.22111/jllr.2025.51343.3319 FA بهزاد پورقریب دانشیار گروه زبان و ادبیات انگلیسی ، دانشگاه مازندران، بابلسر ، ایران. (نویسنده مسئول) سجاد عربی دکتری زبان و ادبیات عربی، دانشگاه خلیج فارس، بوشهر، ایران عبدالباقی رضایی تالارپشتی استادیار گروه زبان و ادبیات انگلیسی ، گروه زبان و ادبیات انگلیسی ، دانشگاه گلستان، گرگان ، ایران Journal Article 2025 03 06 Comparative literature is of utmost importance in understanding the various perspectives cultured by different societies and literatures on love. In this vein, using the content analysis method while building its basis on the American School of Comparative Literature, the present research studies and contrasts the concept of love in two short stories: The Miller's Tale, written by Geoffrey Chaucer (1343-1400), and The Cuckoo Clock, written by Mikhail Naimy (1889-1988). The research finds that love is transformative in both stories. In The Miller's Tale, that transformation may be best characterized by the ideas of deception and betrayal, influenced by class systems and social status. In contrast, in The Cuckoo Clock, this transformation results from the encounters brought in by modernity and cultural conflicts between the East and the West. Both authors symbolize the multiple dimensions of love: while the mill in The Miller's Tale symbolizes trickery and deceit, the cuckoo clock in The Cuckoo Clock symbolizes the seductive potential of modernity and a shift in traditional values. While love is traditionally viewed with a humorous, realistic tint in Western literature (as exemplified by Chaucer), Arabic literature (where Naimy shines) has maintained a traditionally idealistic, philosophical interpretation. Extended abstract 1. Introduction Comparative literature has gone through various schools since its emergence, including the French, American, German, Russian, and Eastern European schools. Among these, the French and American schools stand out as the two major approaches. In the French school, the primary focus is on influence and reception, where researchers provide documented evidence to prove how one writer has influenced another. In contrast, the American school examines the similarities and differences between two works, analyzing the factors and reasons behind these similarities and differences (Anushiravani, 2010: 13-14). Ultimately, the goal of such research is to achieve greater understanding and convergence by comparing one work with another. The American school of comparative literature emphasizes similarities and differences without seeking to prove direct influence. Love is a profoundly significant human experience in all societies and is considered one of the strongest commonalities among all people. This concept has been explored since ancient times. Perhaps one of the most comprehensive definitions of love comes from Erich Fromm, whose definition is considered complete because it examines love from multiple perspectives. According to Fromm, "Love is an action, the practice of human powers that can only be exercised in complete freedom, not under coercion. Love is activity, not passivity; it is endurance, not submission. Generally, the active qualities of love can be described as follows: Love is primarily giving, not receiving." (Fromm, 1993: 33) Thus, Fromm, with his philosophical perspective, viewed love not merely as a personal phenomenon but as a social category with a philosophical foundation (Jafari Golnesa'i, Nikmanesh, 2018: 56). Love and its concepts have also permeated literature, both poetry and prose, and hold a prominent place in the literature of various nations. Poets and writers from different cultures have explored love and its dimensions in their own unique ways, often juxtaposing it with themes such as betrayal and loyalty. The Canterbury Tales is a work by Geoffrey Chaucer, a prominent English writer. The tales in this collection are diverse, each delightful in its own way, but the most widely circulated ones include The Miller’s Tale, The Reeve’s Tale, The Wife of Bath’s Tale, The Pardoner’s Tale, and The Nun’s Priest’s Tale (Qeytanchi, 2000: 295). Mikhail Naimy, a Lebanese writer, poet, critic, and scholar, had a significant impact on contemporary Arabic literature through his works, including poetry, stories, and essays, leaving behind valuable contributions in each of these fields. This study conducts a comparative analysis of the concept of love in The Miller’s Tale by Geoffrey Chaucer from The Canterbury Tales and The Cuckoo Clock by Mikhail Naimy from Kan Ma Kan (Once Upon a Time), representing two different cultural contexts—Western and Eastern. The primary objective of this research stems from the goals of comparative literature, which seek deeper understanding. Additionally, it aims to clarify the role of love as a shared human theme in comparative literature and to uncover common and distinct aesthetic and intellectual patterns in Western and Eastern literature. The necessity of this research arises from the global importance of love and its prominent presence in the literature of various nations, warranting its examination from the perspective of comparative literature to gain a deeper understanding of cultural commonalities and distinctions. Thus, this study seeks to answer the following questions: How is love represented in The Miller’s Tale by Chaucer and The Cuckoo Clock by Naimy? What similarities and differences exist in the portrayal of love in these two works? What broader patterns about the representation of love in Western and Arabic literature can be extracted from this analysis? Research Methodology Comparative studies in literature, within the framework of the American school of comparative literature, constitute an important analytical method that examines similarities and differences between literary works across different cultures and languages. In this study, the theoretical framework is based on this school, which focuses on studying literary works without requiring direct influence and incorporates an interdisciplinary approach in its analysis. The American school of comparative literature emerged in the 1950s through the efforts of scholars such as René Wellek and Henry Remak. Unlike the French school, which insisted on influence as a necessary condition for comparative studies, the American school, which developed after World War II, adopted a more flexible approach, allowing for comparisons based solely on similarities. Over time, this flexibility expanded to include the study of literature in relation to other arts, such as painting, architecture, dance, and music. Later, the relationship between literature and other empirical sciences also became part of comparative literary research. In this school, comparative literature is closely linked to modern literary criticism. Many scholars of the American school consider comparative literature a branch of literary criticism. Therefore, the focus is on the literariness of a work—the qualities that make it literary—rather than historical relationships or issues such as influence. The research method in this study is analytical-descriptive, operating within the framework of the American school of comparative literature. Based on this approach, the study compares the theme of love in the two aforementioned stories, examining their representations and highlighting the similarities and differences in their perspectives on this theme. Numerous studies have explored Chaucer’s influence on later writers and the development of the English novel. These works often include comparative analyses of Chaucer’s narrative techniques with those of other major figures in English literature, demonstrating how his innovations shaped later writing styles and techniques. The same applies to Mikhail Naimy, where most research has focused on his writing style, his influence on subsequent writers, and his refinement of the Arabic language. However, no study has conducted a comparative analysis of the works of these two writers in general or The Miller’s Tale and The Cuckoo Clock in particular. This research fills that gap, opening the door for further studies on these prominent authors. Discussion and Analysis Mikhail Naimy, in writing his collection Kan Ma Kan (Once Upon a Time), was influenced by Western and Russian writers. "Naimy’s concept of literature and literary art was shaped by his engagement with Russian writers such as Alexander Pushkin, Mikhail Lermontov, Nikolai Nekrasov, Belinsky, Turgenev, Dostoevsky, Tolstoy, Gogol, and Chekhov, even before his exposure to other European writers." (Amanqoliyeva, 2003: 198) However, regarding English writers, there is a different perspective. Naimy was profoundly influenced by William Shakespeare, but there is no mention of Geoffrey Chaucer’s influence on him in available sources. 3.1. The Theme of Love in The Miller’s Tale and The Cuckoo Clock In both stories, love is a determining force that changes the course of the characters’ lives. In The Miller’s Tale, love becomes a destructive force that leads to betrayal, deceit, and trickery. Nicholas, a clever young student, exploits his love for the miller’s wife and devises a plan to deceive her husband. A comparative study of these two stories in terms of the theme of love reveals how a shared concept like love can be represented differently depending on social, historical, and linguistic contexts. In The Miller’s Tale, love becomes a social game and a tool for betrayal, whereas in The Cuckoo Clock, love is initially idealized but fades when confronted with the temptations of modern life. These differences reflect the influence of cultural and social environments on the definition of love in literature. Ultimately, in both stories, love is a decisive force—but in one, it leads to ruin, while in the other, it alters the characters’ life paths. 3.2. Narrative Techniques in Representing Love One of the fundamental differences between The Miller’s Tale and The Cuckoo Clock lies in their narrative styles and modes of expression. Chaucer employs a humorous and satirical tone, reflecting his critical view of romantic and social relationships. In contrast, Naimy uses a poetic and reflective language that focuses on psychological and philosophical analysis rather than mockery. In The Miller’s Tale, humor and satire serve as tools to critique human behavior. Conversely, in The Cuckoo Clock, the language is poetic and contemplative. Naimy uses emotional descriptions and beautiful metaphors to portray love as a powerful, metaphysical force. Both authors employ symbolism to depict the nature of love and its impact on characters, though the types and functions of these symbols differ. In The Cuckoo Clock, the cuckoo clock symbolizes modernity and the temptation of change. This clock, brought from America, represents a new, dazzling world that ultimately separates Zamar from her pure love for Khitar. In contrast, in The Miller’s Tale, the mill and its tools symbolize deceit and corruption. The mill, where the story unfolds, is a place where truth is distorted, and lust replaces loyalty. In conclusion, both stories use symbols to represent love and its effects, but their approaches differ. In The Cuckoo Clock, the clock symbolizes modernity and temptation, leading to the disintegration of love. In The Miller’s Tale, the mill symbolizes deception, portraying love not as a sacred force but as a social and lust-driven game. These symbolic differences reflect the fundamental disparities in the two authors’ perspectives on love. 3.3. Cultural and Social Contexts Both stories were written in different cultural and social settings, necessitating their examination through comparative literature. This section explores these contexts in two frameworks: the reflection of cultural values and the impact of social conditions. In The Miller’s Tale, betrayal and deceit are depicted as common elements in romantic relationships, reflecting the medieval attitude toward love and gender. During that period, women were often portrayed as objects of male pleasure or schemes, and romantic relationships were associated with trickery and exploitation. In contrast, The Cuckoo Clock explores the conflict between tradition and modernity as the backdrop for character development. Unlike Chaucer’s tale, where betrayal and deceit dominate, Naimy’s story presents the pure love of Khitar and Zamar against the temptations of modernity. Zamar, initially a simple village girl, disregards her true love under the influence of modern life. Chaucer’s tale is set in a medieval context where social status plays a crucial role. At that time, social classes were rigidly defined, and loyalty to the class system was essential. The miller, as a member of the working class, is portrayed as naïve and easily deceived, while Nicholas, relying on his intelligence, holds a superior position. This reflects a society where cunning often triumphed over honesty. On the other hand, The Cuckoo Clock is set in a contemporary era, examining the challenges posed by modern changes. These include the clash between tradition and modernity and the struggle between old values and the allure of the new world. Khitar, representing traditional values, resists the wave of modernity but ultimately succumbs to it. In The Miller’s Tale, romantic relationships unfold in a context of deceit, reflecting medieval attitudes toward love and gender. In contrast, The Cuckoo Clock depicts the challenges arising from the collision of tradition and modernity, where love is tested by the temptations of the new world. Both stories demonstrate how cultural and social conditions shape romantic relationships and their outcomes. Conclusion The findings of this study reveal that in The Miller’s Tale by Geoffrey Chaucer, love is portrayed humorously, driven by lust and deceit. Characters use love as a tool for pleasure and trickery. In contrast, in The Cuckoo Clock by Mikhail Naimy, love initially appears as a pure, ideal, and transcendent force but is eroded by the temptations of modern life and materialism. This love is genuine and spiritual at first but becomes a victim of emerging values as the story progresses. In both stories, love is a transformative force—but in The Miller’s Tale, this transformation is negative, rooted in deception and influenced by class structure and social status. In The Cuckoo Clock, the change results from the confrontation with modernity and cultural conflicts between East and West. Additionally, in Chaucer’s tale, love is narrated within a comedic and critical framework, based on lust and deceit, while in Naimy’s story, love is analyzed through a tragic and moralistic lens, clashing with modernity. The lovers in The Miller’s Tale are self-serving and superficial, whereas in The Cuckoo Clock, they undergo emotional and internal transformations. Both texts regard love as a transformative agent. In Chaucer, this transformation is negative and deceit-based, while in Naimy, it stems from the clash between tradition and modernity. Moreover, both authors use symbols to represent love: the mill symbolizes deceit, while the cuckoo clock symbolizes temptation and the decline of traditional values. References Amānqoliyeva, A. (2003). Landmarks of Contemporary Arabic Literature (Ma'ālem al-Adab al-Arabi al-Mo'āser). Baku: No Publisher. Anushiravani, A. (2010). Zarurat-e Adabiyāt-e Tatbiqi dar Irān (The Necessity of Comparative Literature in Iran). Journal of Comparative Literature, 1(1), 6-38. Arabi, S., et al. (2023). Manifestations of Critical Realism in "Yeki Bud Yeki Nabud" by Jamālzādeh and "Kan Ma Kan" by Mikhail Naima (Jelvehā-ye Re'ālism-e Enteqādi dar "Yeki Bud Yeki Nabud" va "Kan Ma Kan"). Āfāq al-Hadāra al-Islāmiyya, 25 (2), 135-167. Chaucer, G. (1983). The Canterbury Tales. Translated by David Wright. New York: Oxford University Press. Chaucer, G. (1983). Hekāyāt-e Kānterberi (The Canterbury Tales (, translated and edited by Majdi Wahba and Abdolhamid Yunes. Cairo: Al-Hay'a al-Masriyya al-'Āmma lil-Kitāb. Fromm, E. (1993). Honar-e Eshq Varzidan (The Art of Loving). Tehran: Enteshārāt-e Morvārid. Golnesā'i, T., & Nikmanesh, M. (2018). Moqāyeseh-ye Eshq-e Pedarāneh dar She'r-e Ahmad Shāmlu va Nizār Qabbāni (Comparison of Paternal Love in the Poetry of Ahmad Shāmlu and Nizār Qabbāni Based on Erich Fromm's Views). Lyrical Literature Research Journal of Sistan and Baluchestan University, 16(30), 53-70. Khādemi-Kulāei, M., & Bozorgi-Qalehsari, H. (2015). Barresi-e Tatbiqi-e Mafhum-e Eshq nazd-e Flutin va Mowlānā (A Comparative Study of the Concept of Love in Plotinus and Mowlānā). Comparative Literature Research, 3(1), 143-164. Mehdipour, A. (2016). Hekāyat-e Āsyābān az Jeffrey Chaucer: Farātar az Fāblio (The Miller's Tale by Geoffrey Chaucer: Beyond the Fabliau). Research in Contemporary World Literature, 21(1), 153-174. Naima, M. (1949). Once Upon a Time (Kan Ma Kan). Beirut: Maktabat Sāder. Plato. (1972). Five Treatises: Courage, Friendship, Ion, Protagoras, and Symposium (Panj Resaleh: Shojā'at, Doosti, Ion, Protāghorās va Mehmani, translated by Mohammad Sanā'ati). Tehran: Bongāh-e Tarjomeh va Nashr-e Ketāb. Plotinus. (1987). The Complete Works of Plotinus (Dowreh Āsār-e Flutin, translated by Mohammad Hasan Lotfi). Tehran: Nashr-e Khārazmi. Pourgharib, B., & Ahmadi, M. (2022). Tahlil-e Ravāyatshenāsi-e Tarkibi dar Dāstān-e "Parandeh-ye Man" az Didgāh-e Butiqā-ye Sākhtārgarā (Combined Narratology Analysis in the Story "My Bird" by Fariba Vafi from Structuralist Poetics Perspective). Interpretation and Analysis of Persian Language and Literature Texts (Dehkhoda), 15(58), 226-249. Qeytānchi, J. (2000). Jeffrey Chaucer va Qessehā-ye Kānterberi (Geoffrey Chaucer and The Canterbury Tales). Journal of Faculty of Literature and Humanities, 43(3), 289-306. Rāhnavard-e Kohneh-Shahri, A., Hejāzi, A., & Mashfiqi, A. (2022). Sharh-e Eshq va Mahabbat az Manzar-e Emām Mohammad Ghazāli va Ahmad Ghazāli (Explanation of Love and Affection from the Perspective of Imam Mohammad Ghazāli and Ahmad Ghazāli ). Lyrical Literature Research Journal of Sistan and Baluchestan University, 30(38), 5-30. Remak, H. (2012). Ta'rif va 'Amalkard-e Tatbiqi, translated by Farzāneh Alavizādeh (Definition and Function of Comparative ). Comparative Literature, 2(2), 54-73. Sāheb-Jam'i, H. (2021). Hadith-e Eshq: az Soqrāt tā Sārtar (The Story of Love: From Socrates to Sartre ). Iran Nameh, 6(3-4), 85-147. Schimmel, A. (2001). The Glory of the Sun (Shokuh-e Shams, translated by Hasan Lāhuti). Tehran: Nashr-e Dāneshgāhi. Wellek, R & Warren, Austin. (1949). Theory of Literature, Harcourt, Brace and Company: New York. Wellek, R. (2012). Nām va Māhiyat-e Adabiyāt-e Tatbiqi, translated by Sa'id Rafi'i Khazari (The Name and Nature of Comparative Literature). Comparative Literature, 3(2), 1-20. پی بردن به نحوه پرداختن به مفهوم عشق در ادبیات و فرهنگ ملل گوناگون از اهمیت زیادی برخوردار است و از رهگذر ادبیات تطبیقی، باعث شناخت هرچه بیشتر می‌شود. این پژوهش به روش تحلیل محتوا و با استناد به مکتب آمریکایی ادبیات تطبیقی، به تحلیل و مقایسه مفهم عشق در دو داستان کوتاه آسیابان جفری چاسر(۱۴۰۰-۱۳۴۳) و ساعت کوکو میخائیل نعیمه(۱۹۸۸-۱۸۸۹) می‌پردازد. نتایج تحقیق نشان داد که عشق در هر دو داستان می‌تواند نیرویی دگرگون‌کننده باشد؛ درآسیابان این تغییر بیشتر در جهت فریب و خیانت است که تحت تأثیرنظام طبقاتی و موقعیت اجتماعی است، درحالی‌که در ساعت کوکو، تغییر در نتیجه رویارویی با مدرنیته و تحت تأثیر تضادهای فرهنگی میان شرق و غرب رخ می‌دهد. هر دو نویسنده از نمادها برای نشان‌دادن ماهیت عشق استفاده کرده‌اند؛ در آسیابان، آسیاب نماد فریب و حیله‌گری است، درحالی‌که در ساعت کوکو، ساعت کوکو نماد وسوسه مدرنیته و تغییر ارزش‌های سنتی است. در ادبیات غربی (نمونه‌ی چاوسر)، عشق اغلب با نگاهی طنزآمیز و واقع‌گرایانه توصیف می‌شود در حالی که در ادبیات عربی (نمونه‌ی نعیمه)، عشق اغلب با نگاهی آرمانی و فلسفی همراه است.

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دانشگاه سیستان و بلوچستان پژوهشنامه ادب غنایی 2008-5737 24 46 2026 03 21 A Deleuzian Reading of 'Wine' in Hafez's Ghazals: Unveiling New Horizons in Hafez Studies خوانش دلوزی «باده» در غزلیات حافظ: گشایش افق های تازه در حافظ پژوهی 75 98 9486 10.22111/jllr.2025.52004.3341 FA حسین جودوی دانشجوی دکتری، گروه زبان و ادبیات فارسی، دانشگاه سیستان و بلوچستان محمد علی محمودی استاد، گروه زبان و ادبیات فارسی، دانشگاه سیستان و بلوچستان (نویسنده مسئول) محمد امیر مشهدی استاد، گروه زبان و ادبیات فارسی، دانشگاه سیستان و بلوچستان Journal Article 2025 05 13 Wine, as a central motif in Hafez’s poetry, has been chosen as the focus of this research due to its fluid, multifaceted nature, which cannot be reduced to a single fixed meaning. Accordingly, concepts derived from the thought of Gilles Deleuze—such as difference and repetition, becoming, deterritorialization, and others—are examined in relation to the multifaceted concept of “wine” in Hafez’s verses. In this article, the authors propose a novel reading of the position of “wine” in Hafez’s ghazals by employing Deleuzian philosophical concepts, moving beyond the traditional vertical structure of the ghazal to analyze the verses horizontally based on the ideas of the “rhizome” and “multiplicity.” This study demonstrates that a Deleuzian reading establishes a connection between classical Persian literature and postmodern philosophy, while also emphasizing the intertextual and polyphonic capacity of Hafez’s poetry. The central issue of this research is the necessity of adopting a new approach, grounded in Deleuzian philosophy, for a multi-layered interpretation of “wine.” The study adopts a descriptive-analytical approach, presenting Khwaja Hafez as a poet who employs rhizomatic thought to transcend the conventional dualities of traditional thought. Extended abstract 1. Introduction Inspired by the philosophy of Gilles Deleuze, which proposes concepts such as the "rhizome," "becoming," and "deterritorialization" to escape hierarchical and fixed structures, the present study seeks to open new horizons in interpreting the symbol of "wine" (Badeh) in Hafez's ghazals. Deleuze, by criticizing binary logic and the search for an "ultimate meaning," emphasizes "becoming" over "being." Gilles Deleuze uses the term "Rhizome" to explain his philosophy and thought. The "rhizome" is one of the most important Deleuzian ideas and serves as a foundational structure in this research. Research Method This study has been conducted using a descriptive-analytical approach, presenting Khwaja Hafez as a poet who utilizes rhizomatic thought to transcend the conventional dualities of traditional thought. The rereading of "wine" in Hafez's ghazals in this research emphasizes the non-hierarchical nature of his verses over the structural unity of the ghazal. This represents a post-structuralist approach to classical Persian literature, which has often focused on conventional readings based on thematic coherence. Discussion Deleuze opposes the concepts of unity and identity, that is, the existence of a single, fixed principle from which everything originates. He believes that these concepts transform the world into a homogeneous and uniform space, ignoring its diversity and multiplicity (Deleuze, 1983: 190). "Becoming" is a process in which an object escapes fixed identities and enters a fluid and unstable state. Deleuze borrows the concept of "becoming" from Nietzsche, and this concept is profoundly anti-Hegelian (Jaarsma, 2005: 128). "Becoming refers to the passages through which a concept undergoes metamorphosis" (Payton, 2021: 152). By critiquing the concept of Oedipus and lack in Freudian psychoanalysis, Deleuze introduces desire not as a lack or deficiency, but as a productive and constructive force (Deleuze & Guattari, 1983: 1). Deleuze believes that real time is the time of Aion, in which differences and repetitions continuously create change and transformation. It is here that "time stops following movement; time appears as time itself" (Deleuze, 2016: 20). Hafez repeatedly uses synonyms for "wine" (Badeh), but each time, by adding attributes or placing them in different contexts, he creates a difference in meaning. In his ghazals, he uses synonyms for "wine" – such as "Mey," "Sharāb," "Jām" (cup), and "Āb-e Zendegi" (water of life) – in a way that the repetition of these words is not monotonous. The "safe haven" (Maqām-e Amn) in Hafez's poetry is not a fixed place but a fluid situation that invites the subject to "become." Here, security is redefined not through limitations but by opening up to unlimited possibilities. "Pure wine" (Mey-e bi-ghash) symbolizes pure desire that has not been contaminated by social codes (such as imposed moral precepts). This desire, following lines of flight, breaks hierarchical structures. Pure wine is precisely desire liberated from "organic organization," flowing in a smooth space. Hafez alludes to humanity's inevitable fate: the decay of the body and its transformation into inanimate matter (the potter's clay, Gol-e Kuze-garān). This transformation, in Deleuzian terms, is not an end but another "becoming"; a passage from human identity to an inorganic identity (clay) situated within the cycle of life-death. Death here is interpreted as "becoming-earth/clay"; a process that transforms the subject into a fluid flow within the network of existence, not absolute annihilation. From a creative angle, one can approach this line; Hafez contemplates death and knows that one day his soul will depart from his body, which is death. He then chooses the "jug" (Sabo) as a symbol of the "body" and searches for wine (symbolizing the soul) to alleviate his anxiety about death through a symbolic revival (pouring wine into the jug: breathing spirit into the body). The invitation to "bid farewell to repentance" (Vedā'-e Tobe) negates repressive morality and reopens the path of Deleuzian desire. For Deleuze, desire is not lack but a desiring-machine; a force that generates connections and recreates realities. Repentance symbolizes the repression of desire (the prohibition of pleasure). Another point is that although Hafez, within the mystical tradition, uses wine as a metaphor for divine attraction, a Deleuzian reading reveals the tavern (Meykhāne) as the manifestation of the infinite within the material. Wine is a force that, within this perceptible world, reveals the depth of being. Reason (`Aql), in the role of an advisor, decrees wine-drinking and consequently defies rational procedure. Here, reason exits the rigid territory of "the rule of logic." Instead of the binary of reason-madness, Deleuze emphasizes lines of flight; a movement that breaks hierarchical structures. Reason's advice to drink wine, through creative destruction, liberates reason from the cage of modern objectification (as an instrument of control). "The wine of Alast" (Mey-e Alast, the eternal wine) refers to Aion time; where the drinker is freed from the constraints of linear time (Chronos) and attains a trans-temporal experience. With the phrase "a joyful heart" (Khormat Del), Hafez refers to a state where the heart, by partaking in the eternal wine, is freed from the concerns of Chronos time (such as death, decay, or anxiety about the future) and resides in Aion. The act of "taking the cup" (Jām gereftan) is not merely a moment in linear time but a point where the subject connects with eternity. The cup is a medium for experiencing Aion. By comparing himself "like Hafez" (Hamcho Hāfez), he portrays himself as a model of someone living in Aion time. From a Deleuzian perspective, such an individual dwells not in the past or future, but traverses the "infinite present." Conclusion Reading Hafez's ghazals through the lens of Deleuze's philosophy not only expands the semantic field of "wine" beyond the confines of mystical or earthly interpretations but also reveals the fluid, rhizomatic structure of his poetry. Wine, positioned as a "rhizome," has no fixed center and, in each line, connects with diverse concepts as a node in semantic networks. Furthermore, difference and repetition in Hafez's poetry appear not as identical reproduction but as the creation of new possibilities. Perfect puns (jenās-e tāmm) and the use of synonyms for wine demonstrate repetition *with* difference, which transforms semantic structures. This approach, aligned with Deleuzian theory, emphasizes a break from fixed patterns. This study demonstrates that the Deleuzian approach does not negate traditional interpretations but rather complements existing readings, enriching Hafez studies by revealing hidden layers of his poetry and building a bridge between Persian literature and contemporary philosophy. References Aghahosseini, Hossein and Fatemeh Jamali. (2005). “Beyond Imagination”, Journal of the Faculty of Literature and Humanities, University of Isfahan, 2 (41): 121-142. (In Persian) Ahmadi, Babak. (2006). Structure and Interpretation of the Text, 8th edition, Tehran: Markaz. (In Persian) Alizadeh, Naser and Tahereh Nazari-Anamagh. (1396). “Postmodernist Elements in the Sonnets of Hafez of Shiraz” (2017), Persian Language and Literature, 70 (235): 180-153. (In Persian) Bahr-ol-Olumi, Hossein. (2008). "Hafez's Potion", in articles on Hafez's poetry and life, with the help of Mansour Rastegar Fasaei (World Congress of Saadi and Hafez, 27-28 May 1971), fourth edition, Tehran: Jami. (In Persian) Batani, Mohammad Reza. (2006). Language and Thought, 8th edition, Tehran: Agh. (In Persian) Buchanan, I. (2008). Deleuze and Guattari's Anti-Oedipus: A Reader's Guide. Continuum. Colebrook, Claire. (1997). Gilles Deleuze, translated by Reza Sirvan, 4th edition, Tehran: Markaz. (In Persian) Deleuze, G, (1983), Nietzsche and Philosophy. (Hugh Tomanilson, Trans). London: Athlone Press. Deleuze, G. (1994). Difference and Repetition (P. Patton, Trans.). Columbia University Press. (Original work published 1968). Deleuze, G., & Guattari, F. (1983). Anti-Oedipus: Capitalism and Schizophrenia (R. Hurley, M. Seem, & H. R. Lane, Trans.). University of Minnesota Press. (Original work published 1972) Deleuze, G., & Guattari, F. (1987). A Thousand Plateaus: Capitalism and Schizophrenia. (B. Massumi, Trans.). University of Minnesota Press. Deleuze, G., & Guattari, F. (1994). What Is Philosophy?. (Hugh Tomanilson & Graham Burchell, Trans.). NewYork: Columbia University Press. 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(139). Divan, edited by Abolghasem Anjou Shirazi, second edition, Tehran: Badrqa Javidan. (In Persian) Hassan-Rezaei, Hossein. (2010). "A New Look at the Foundation of "Jam" in Hafez's Divan", Persian Language and Literature, 28 (89): 131-156. (In Persian) Heydari, Ali. (2006). "Imagination in Hafez's Poetry", Kayhan Farhangi, 239 and 240: 32-38. (In Persian) Jaarsma, Ada, (2005), Encountrring Hegel and Deleuze: Toward a Femeinist Pedagogy of Concept http//doi.org/ 10.22111/jllr.2025.52004.3341. Khorramshahi, Baha' al-Din. (2006). Hafez-nameh, 11th edition, Tehran: Elmi and Farhangi. (In Persian) Khorramshahi, Baha-eddin. (2016). Hafez's Mind and Language, 10th edition, Tehran: Nahid. (In Persian) Peyton, Paul. (2003). Deleuze and the Political Matter, translated by Mahmoud Rafe, 3rd edition, Tehran: Gam-No. (In Persian) Pournamdarian, Taghi. (2003). Lost at the Seashore, Tehran: Sokhan. (In Persian) Rastgo, Seyyed Mohammad. (1379). Iham in Persian Poetry, Tehran: Sorush. (In Persian) Satin, Damien and David Martin-Jones. (1395). Deleuze in Another Frame, translated by Majid Parvanehpour, Tehran: "Metan" Institute for Compilation, Translation and Publishing of Artistic Works. (In Persian) Shafiei-Kadkani, Mohammad Reza. (1397). This Chemistry of Being, 3 volumes, second edition, Tehran: Sokhan. (In Persian) Shamisa, Sirous. (1390). Bayan, Tehran: Mitra. (In Persian) Shoghi Nobar, Ahmad. (1373). "The Mystical Bag of Hafez", Kayhan Andisheh, 10 (53): 48-74. (In Persian) Smith, Daniel and John Protovy. (2004), Gilles Deleuze, Tehran: Qoghnous. (In Persian) Tadini, Mansoureh. (2009). Postmodernism in Iranian Fiction, Tehran: Alam. (In Persian) Young, Eugene B., Gary Gnosco and Jenelle Watson. (1999). Dictionary of Deleuze and Guattari Terms, translated by Mehdi Rafi, Tehran: Nousheh. (In Persian) Zarrinkoob, Abdolhossein. (1377). From Rendan Alley, 11th edition, Tehran: Sokhan. (In Persian) باده، به‌مثابه عنصری محوری در شعر حافظ، به دلیل ماهیت سیّال، چندوجهی و غیرقابل تقلیل به یک معنای ثابت، به عنوان کانون این پژوهش انتخاب شده است. در این راستا، مفاهیم برگرفته از اندیشة ژیل دلوز همچون تفاوت و تکرار، صیرورت، قلمروزدایی و غیره، متناسب با مفهوم چندگانة «باده» در ابیات حافظ بررسی شده‌اند. نویسندگان در این مقاله با بهره‌گیری از مفاهیم فلسفی دلوز، خوانشی نوین از جایگاه «باده» در غزلیات حافظ را پیشنهاد می‌کنند و با عبور از ساختار عمودیِ سنتیِ غزل، به تحلیل افقیِ ابیات بر پایۀ ایده‌های «ریزوم» و «بس‌گانگی» می‌پردازند. این پژوهش نشان می‌دهد که خوانش دلوزی، پیوندی میان ادبیات کلاسیک فارسی و فلسفۀ پست‌مدرن برقرار می‌کند، ضمن آنکه بر ظرفیت بینامتنی و چندصدایی شعر حافظ تأکید می-ورزد. این پژوهش با رویکردی توصیفی-تحلیلی انجام گرفته است که در آن خواجه حافظ، به‌عنوان شاعری که از اندیشة ریزوماتیک بهره می‌برد، از دوگانگی‌های مرسومِ اندیشة کهن، فراتر می‌رود.

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دانشگاه سیستان و بلوچستان پژوهشنامه ادب غنایی 2008-5737 24 46 2026 03 21 Epistemic tolerance in the hermeneutic view of Ayn al-Qadat Hamdani رواداریِ معرفتی در دیدگاه هرمنوتیکی عین‌القضات همدانی 99 114 9060 10.22111/jllr.2025.49765.3283 FA سمیه خادمی استادیار، گروه ادیان و عرفان، دانشکده الهیات و معارف اسلامی، دانشگاه شهید مدنی آذربایجان، تبریز، ایران. Journal Article 2024 09 08 In epistemology, human cognitions are accompanied by limitations and errors. The error possibility in understanding the truth is one of the cases that justify the truth of tolerance. This study examines tolerance from its epistemological aspect using an analytical method based on the traditional hermeneutic views of Ayn al-Qud'at al-Hamadani. In this paper, we seek to answer the fundamental question of how Ayn al-Qud'at al-Hamadani justified epistemic tolerance in his traditional hermeneutic perspective. The findings indicate that, in Ayn al-Qud'at's thought, individuals are at different levels of epistemology. Even for a complete mystic in a state beyond reason knowing the truth is impossible, let alone for those stuck in the state of reason. On the other hand, the transmission of knowledge is also not possible, except through similar words; its understanding is also different due to linguistic limitations and restrictions in audience understanding. Therefore, this possibility of error and the existence of limitations in knowing the truth can be considered the most important factor justifying tolerance; it results in "cognitive humility", which manifests itself for the mystic as "astonishment", and for the non-mystic, in "interpretation", which paves the way towards changeability, which is the product of admitting epistemic impotence. Extended abstract 1. Introduction “Tolerance” is translated as accepting the other and refraining from imposing values on others (Rajabi and Nasiri, 2015: 553-554). Often, when the discussion of tolerance in religion is raised, the first understanding of it is the affirmation of pluralism, which in religion results is the affirmation of all possible readings of religion and in ethics promotes relativism. However, such a superficial understanding of tolerance is incorrect; because tolerance is focused on openness and acceptance of the right of another to choose, even if the choice is wrong, for this reason it can open a third way against dogmatism and relativism. Although the concept of tolerance as defined above does not exist in Islam, and most of the discussions that have been raised under this issue in the Islamic tradition do not mean tolerance, but rather religious tolerance, in which a sense of rightness and superiority over opponents is seen. But one can find possibilities in the Islamic religion that have opened the way to tolerance, the most important of which is the tradition of Islamic mysticism. Ayn al-Quzat al-Hamadani is one of the mystics who has paid attention to the issue of epistemological tolerance in his opinions and thoughts. The basic question of the present study is how Ayn al-Quzat Hamadani justified epistemological tolerance in his traditional hermeneutic perspective. Therefore, the author of these lines has chosen Ayn al-Quzat's views as a research example from among the traditional hermeneutic perspectives in order to, in addition to describing and analyzing the views of this thinker, provide a model according to which to present the hermeneutic perspectives of Muslim mystics in an epistemological format regarding tolerance, and to provide a basis for tolerance in Islam from hermeneutic ethics - recognizing the possible legitimacy of the other. 2.Research method This research was conducted in a descriptive-analytical manner using library resources. Initially, the relevant sources in the field of tolerance as well as the works of Ayn al-Quzat Hamedani in the field of epistemology were studied and important topics were extracted from them. Then, the justification of epistemic tolerance in Ayn al-Quzat Hamedani's perspective was explained and analyzed. 3.Discussion Ayn-ul-Quzat Hamedani places the position of reason in the knowledge of truth in two areas: rational and beyond rational, the difference between these two areas being related to knowledge and the means of knowledge. Normally, humans have the possibility of gaining knowledge through sensory and rational perception, but this knowledge cannot be immune from error through its tools (the five senses and reason). In addition to its errors and the different capacities of individuals in utilizing it, reason has limitations that, according to Ayn-ul-Quzat, its ultimate ability is to reach the certain knowledge, and it is prevented from reaching higher levels, the ultimate of which (reason) is the beginning of knowledge. On the other hand, to reach the state beyond reason, another possibility and tool (the heart) is needed, which, as Ayn al-Quzat points out, is not provided for everyone to reach the same level of knowledge due to intrinsic and non-essential veils, and the number of those who reach the level of Haqq al-Iqin - immediate knowledge of truth - is scarce; because any intermediary, whether it is reason or heart, has limitations in reaching truth. This is where Ayn al-Quzat opens a window towards hermeneutics; because it is possible for the perfect mystic to convey what he has found about truth to those who have not, through language, and here again the role of reason as a means of translation through words and vocabulary becomes important. From the perspective of Ayn-al-Quzat, it is only through similar words that such a possibility for transmitting knowledge exists, because similar words are used in both the realms of reason and beyond reason; but the relationship between word and meaning is adjectival, not real, and these words also have different meanings in each realm (Mirbagheri Fard and Niazi, 2010: 273); Now, we can turn the discussion from the realm of traditional Ayn-al-Quzat hermeneutics to the realm of epistemological tolerance. As mentioned, from the epistemological perspective, all the means that man has to attain knowledge are limited, inadequate, and subject to error, and the possibility of attaining knowledge is not possible except for a few due to the inherent and non-inherent obstacles to knowledge, and these people are also at different levels of knowledge. For this reason, he does not even consider absolute truth to be the last stage of knowledge, but rather introduces the ultimate knowledge as “astonishment” arising from ignorance (Ayn-ul-Quzat Hamedani, 1994: 109). According to Ayn-ul-Qudsat, it is not possible to know the truth even for a complete mystic, let alone for those who have remained stuck in the state of reason. On the other hand, the expression of knowledge is also diverse and inadequate due to language limitations and the different levels of understanding of individuals. For this reason, the possibility of error and the existence of limitations in knowing the truth can be considered the most important factor justifying tolerance, the result of which is "cognitive humility" that manifests itself as "astonishment" for the mystic and as "interpretation" for the non-mystic, paving the way for changeability resulting from epistemic impotence. 4.Result Although Ayn al-Quzat, like other Muslim mystics, believes in a single truth or right, he considers the degrees of knowledge of this truth to be different due to the nature of this truth itself, as well as the differences in the level of understanding of the audience and the inherent and non-inherent obstacles, and even in the field of his traditional hermeneutics he points to language and conceptual limitations. And after pointing to the last degree of knowledge, namely ignorance and the astonishment that results from it, he forces us to a form of epistemic humility that can provide possibilities for tolerance in Islam that can be a third way that keeps us away from the epistemic exclusivism that tends to dogmatism and on the other hand, is different from the epistemic pluralism that leads to relativism; rather, it can unite all humans in their common epistemic impotence. 5.References Almond, I. (2011). Sufism and Deconstruction: Comparative Analysis of the Views of Derrida and Ibn Arabi. translated by Fariduddin Radmehr. First Edition. Tehran: Parseh. Abu Zaid, N. (2007). Thus Spoke Ibn Arabi. translated by Seyyed Mohammad Rastgoo. First Edition. Tehran: Nashr-e Ney. Alavi Moqaddam, M. Sahar, S. (2010). "Critique and Analysis of Hermeneutical Views of Ayn al-Quzat Hamedani." Literary Research Journal. 27: pp. 59-76. DOI: 20.1001.1.17352932.1389.7.27.3. http://lire.modares.ac.ir/article-41-37898-fa.html. Ayn al-Quzat Hamedani. (1983). Letters of Ayn al-Quzat Hamadani. edited by Ali Naqi Monzavi and Afif Asiran. Second Edition. Tehran: Manouchehri. Ayn al-Quzat Hamedani. (1994). Tamhidat. edited by Afif Asiran. Fourth Edition.Tehran: Manouchehri. Ayn al-Quzat Hamedeni. (1962). Complaint of the Stranger to Scholars of the Land. edited by Afif Asiran. First Edition. Paris: Bibliotheca Orientalis. Chittick, W. (2011). The Mystical Way of Knowing: Muhyiddin Ibn Arabi. translated by Mahdi Najafi Afra. Second Edition. Tehran: Jami. Corbin, H. (2010). Realism of Colors and the Science of Balance. translated by Ensha Allah Rahmati. First Edition. Tehran: Sophia. Elahi Rad, S. (2016). An Introduction to Hermeneutics. First Edition. Tehran: Organization for the Study and Compilation of Humanities Textbooks for Universities. Fadavi, S. (2020). investigating the basis and assumptions of Ain al-Quzat Hamedani’s Mystic views. PhD Thesis, Semnan University. Fadavi, S. (2021). Ayn al-Quzat Hamedani. First Edition. Tehran: Negahe Mo'aser. Ferguson, D. (2010). Rudolf Bultmann. translated by Ensha Allah Rahmati. Fifth Edition. Tehran: Gam-e No. Ghazali, A. M. (2006). Collected Epistles of Imam Ghazali. Fourth Edition. Beirut: Dar al-Kutub. Ghoddusi, M. A. (2022). Tolerance. First Edition. Tehran: Negahe Mo'aser. Hafiz Shirazi, Sh. M. (2013). Divan of Ghazals. 52th Edition. Tehran: Safi Alishah. Hujwiri, Abu al-Hasan Ali Ibn Uthman. (1996). Kashf al-Mahjub. edited by Valtin Alexei Yurich Zhukovsky. Fourth Edition. Tehran: Tahoori. Ibn Arabi, M. D. (1422 AH). Tafsir Ibn Arabi (Interpretations of Abd al-Razzaq Kashani), edited by Samir Mustafa Rabab. First Edition. Beirut: Dar Ihya al-Turath al-Arabi. Ibn Arabi, M. D. (n.d.). Al-Futuhat al-Makkiyah. First Edition. Beirut: Dar Sadir. Jahangiri, M. (1996). Muhyiddin Ibn Arabi: A Prominent Figure of Islamic Mysticism. Fourth Edition. Tehran: Tehran University Press. Maulavi, J. M. (2012). Masnavi-ye Ma’navi. based on Reynold Nicholson's edition, Second Edition. Tehran: Adineh Sabz. Mirbagheri Fard, S. A. Niazi, Sh. (2010). "Study and Analysis of Mystical Language in the Works of Ayn al-Quzat Hamadani." Philosophical-Theological Research Journal. (1 & 2): PP: 267-286 DOI: 10.22091/pfk.2010.147. https://pfk.qom.ac.ir/article_147.html. Nasafi, A. D. (2000). Bayan al-Tanzil, edited by Ali Asghar Mirbagheri Fard. First Edition. Tehran: Association of Cultural Heritage and Honours. Nasafi, A. D. (2007). Kashf al-Haqa'iq, edited by Ahmad Mahdavi Damghani. First Edition. Tehran: Scientific and Cultural Publications. Nikfar, M. (2000). "Tolerance," in Toleration and Forbearance. edited by Mohammad Taqi Fazel Meybodi. First Edition. Tehran: Afarineh. Nikpanah, M. Noori, E. (2016). "Evaluation and compromise of mind, narrative, and love in Rumi’s cognitive pyramid". Journal of Lyrical Literature Researches (JLLR). 14: pp. 221-238. DOI:10.22111/jllr.2016.2579. https://jllr.usb.ac.ir/article_2579.html. Nouri, E. Mehr Avaran, M. (2022). "Levels of Theology in Rumi's Masnavi". Journal of Lyrical Literature Researches. 20(39). pp. 227-242. DOI: 10.22111/jllr.2021.34912.2755. https://jllr.usb.ac.ir/article_7390.html. Qasem Pour, M. (2013). A Flow Study of Mystical Quranic Interpretation. First Edition. Tehran: Sokhan. Ragheb Esfahani, H. (2007). Mufradat Alfaz al-Qur'an, translated by Mostafa Rahimi-Nia. First Edition. Tehran: Sobhan Publications. Rajabi, M. Nasiri, M. (2015). "The Conceptual Dilemma of Tolerance." Journal of Philosophy of Religion. 12(3): PP. 545-566. DOI: 10.22059/jpht.2015.5636. https://jpht.ut.ac.ir/article_56360.html. Ramberg, B. Gjesdal, K. (2014). Hermeneutics. translated by Mehdi Mohammadi. First Edition. Tehran: Ghoghnoos Publications. 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Tehran: Institute of Contemporary Thought and Culture. در حوزۀ معرفت شناسی، شناخت های انسان با محدودیت و خطا همراه است. امکان خطا در درک حقیقت، یکی از مواردی است که صدق رواداری را توجیه می‌کند. هدف پژوهش حاضر، بررسی رواداری از وجه معرفت‌شناختی آن به روش تحلیلی و مبتنی بر آرای هرمنوتیک سنتی عین‌القضات همدانی است. در این نوشتار، در پی پاسخ به این سؤال اساسی هستیم که عین القضات همدانی در دیدگاه هرمنوتیک سنتی خویش، چگونه به توجیه رواداری معرفتی پرداخته است. یافته‌های پژوهش حاکی از آن است که در اندیشۀ عین القضات، افراد در سطوح مختلف معرفتی قرار دارند. حتی برای عارف کامل در طور ورای عقل نیز، امکان شناخت حقیقت ممکن نیست، چه رسد به کسانی که در طور عقل متوقف مانده‌اند. از سوی دیگر انتقال معرفت نیز، جز به‌واسطه الفاظ متشابه، ممکن نیست؛ که فهم آن نیز، به‌واسطه محدودیت‌های زبانی و فهم مخاطبان متفاوت است. بنابراین، همین امکان خطا و وجود محدودیت در شناخت حقیقت را می‌توان مهم‌ترین عامل توجیه رواداری به‌شمار آورد، که نتیجه آن «فروتنی معرفتی» است، که برای عارف در مقام «حیرت»، و برای غیرعارف، در «تأویل»، خود را نشان می‌دهد، که راه را به‌سوی دگرپذیری، که محصول اقرار بر ناتوانی معرفتی است، هموار می‌کند.

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دانشگاه سیستان و بلوچستان پژوهشنامه ادب غنایی 2008-5737 24 46 2026 03 21 Analysis of the narrative mechanisms of the story of "Bahram-e- Gour in the black dome" from Nizami's Haft Peykar, based on Greimas's theories تحلیل سازوکارهای روایت «بهرام گور در گنبد سیاه» از هفت پیکر نظامی، بر پایة آرای گریماس 115 132 9218 10.22111/jllr.2025.51559.3327 FA ابراهیم سراوانی دانشجوی دکتری زبان و ادبیات فارسی، واحد زاهدان، دانشگاه آزاد اسلامی، زاهدان، ایران. بهروز رومیانی استادیار گروه زبان و ادبیات فارسی، واحد زاهدان، دانشگاه آزاد اسلامی، زاهدان، ایران. (نویسنده مسئول) مصطفی سالاری دانشیار گروه زبان و ادبیات فارسی، واحد زاهدان، دانشگاه آزاد اسلامی، زاهدان، ایران Journal Article 2025 04 19 The study and analysis of literary works based on global theories not only help in better understanding narrative structures but also contribute to a deeper comprehension of the text. One of the leading structuralist theorists in the field of narration is Algirdas Julien Greimas. His theories, due to their unique divisions and flexibility, have gained wide acceptance among researchers. This essay adopts a descriptive-analytical approach to evaluate and analyze the structure of the main plot of the narrative Bahrām Gūr in the Black Pavilion from Nezami’s Haft-Peykar, based on Greimas' key concepts (binary oppositions, narrative chains, and the actor model). It also examines the protagonists and how the structures forming the events are created. According to the findings, the story begins with an initial balanced state (the king's happiness in the palace), shifts to an unbalanced state due to the king's curiosity about the people in black clothing, and concludes with a final balanced state after the king uncovers the mystery. The main actors in Greimas' action model are identified as follows: Sender: the king’s curiosity, Receiver: the king, Subject: the king, Object: the discovery of the mystery, Helper: the butcher and the strong rooster, Opponent: the enchanted townspeople. Extended abstract 1. Introduction In the contemporary era, the analysis of narratives based on new theories has enriched literature even more. Among the new theories on the understanding of literary works are the theories related to narratology and structuralism. These two sciences are among the sciences that answer the fundamental questions of humanity regarding the philosophy of literature. Structuralists have also drawn people's attention to the general rules of narratives and the analysis of meta-narrative (Payandeh, 2018: 236-234). Algirdas Julien Greimas, one of the greatest structuralist theorists of narratology, proposed new developments in the structural studies of narrative. He believes that in order to understand a narrative, one must understand the meanings of the developments and grammatical rules of the narrative; just as in order to understand a sentence, one must understand the grammatical and syntactic rules and the meanings of words (Green and Lebihan, 2004: 110). In the following essay, which was conducted using a descriptive-analytical method, the main idea is to examine and analyze the structure of the narrative "Bahram-e- Gour in the black dome" from Nizami's poetic collection "Haft Peikar" based on Greimas's ideas. Research method The research method in this study is descriptive-analytical and examines data and examples, based on library studies that have been discussed and examined by citing some of Greimas's most important ideas. In order to achieve the research objectives, the story of Bahram-e- Gour in Black Dome, from Haft Peikar of Nizami, was studied in full, and then an attempt was made to analyze and explain the narrative structure based on Greimas' ideas (binary oppositions, actantial model, narrative chains). Discussion Algirdas Julien Greimas, a famous linguist and semiotician, has discussed in his opinions such topics as: action pattern, binary oppositions, narrative chains, etc. He reduced Propp's theories on the existence of action/event in narrative to six situations (Greimas, 1986: 39). These six actors or actants, who are in three binary oppositions, consist of: sender/receiver, subject/object, and supporter/opponent (Toolan, 2007: 82). Greimas considers the structure of narrative plot as a result of binary oppositions. From his perspective, "these oppositions are related to plot in the following way: temporal oppositions, i.e. balanced or unbalanced initial conditions against the final conditions of the story, against thematic conditions, i.e. for the reversed and unbalanced theme, a solution is found and balance is regained. (Okhovvat, 2002: 65). Another part of Greimas's ideas is related to narrative chains. From his perspective, each narrative has three chains to explain its different narrative sequences: The Contractual chain, the Performative chain, and the Disjunctional chain (Hawkes, 2003: 71). Many ancient Persian stories have the potential to be adapted and examined with modern literary theories. In the story "Black dome" of Nizami’s Haft Peikar, based on Greimas' ideas, the story begins with a balanced initial situation (the king's glory in the palace); with the king's curiosity to discover the secret of the black-clad man, it changes to an unbalanced middle situation, and with the king's discovery of the secret, it reaches a balanced final situation. The course of the story in this narrative is structurally from negative to positive. In this narrative, the main actors are: the king (subject and receiver), the king's curiosity (sender), discovering the secret of wearing black clothing (object), the townspeople (opponent), the butcher and the burly chicken (supporters). The narrative chains in the aforementioned narrative are also as follows: 1- Contractual: the king's internal pact to achieve the goal (discovering the secret of black-clad clothing); 2- Performative: abandoning the throne and traveling to the city of drunkenness/fighting difficulties and obstacles/testing self-control; 3- Disjunctional: the king's change of status in response to fulfilling his internal pact/discovering the secret/returning to the palace and wearing black. 4- Conclusion Using up-to-date study patterns can have a significant impact on a deeper understanding of literary works and provide a new analysis of a narrative. Analyzing Bahram-e-Gour's narrative in "The Black Dome" from Nizami's "Haft Peikar" series using Greimas's theory opens a new window to the layers of this work. In analyzing this story, it was determined that there is both a contrastive pattern, i.e. a balanced initial situation, an unbalanced middle situation, and a balanced final situation, as well as a syntactic structure or three chains: Contractual, Performative, and Disjunctional. Also, all six actors of the Greimas action model (sender, receiver, subject, object, supporter, and opponent) are present in this narrative. In general, the elements that Greimas showed for the structural analysis of a narrative are explained in the narrative of The Black Dome. The results obtained demonstrate the adaptation of Greimas' narrative model in the analysis of the characters and structure of this narrative and show that Greimas's views are capable of adapting to lyrical texts. 5-References Ahmadi, B. (1991). Structure and Interpretation of Text. Vol. 1. Tehran: Markaz. Bertens, J. W. (1983). Literary Theory. Translated by Farzan Sojudi. Tehran: Ahang. Dorpar, M; Yahaghi, M. J. (2010). 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A Study of the Narrative Structure of Lyrical Poems Based on Grimas's Theory (Veis and Ramin, Khosrow and Shirin, Jamshid and Khorshid, Homay and Homayoun, Leili and Majnun), PhD Thesis in Persian Language and Literature, University of Sistan and Baluchestan, Supervisor: Mohammad Ali Mahmoudi. Selden, R; Widson, P. (2005). A Guide to Contemporary Literary Theory. Translated by Abbas Mokhber. 3rd Edition. Tehran: Tarh-e- no. Shairi, H.R. (2002). Fundamentals of Modern Semantics. Tehran: Samt. Shairi, H.R. (2006). Semiotic Analysis of Discourse. Tehran: Samt. Shairi, H.R. (2006). Semiotics of Literature/Theory and Method of Literary Discourse Analysis. Tehran: Tarbiyat Modares University Sojudi, F. (2005). Semiotics and Literature. Tehran: Farhang Kavosh. Soleymanpour, M. (1998). "The Central Role of the Majnun Character Based on Greimas’s actantial model ". New Literary Studies, Vol. 1, No. 2. pp. 1-12. Tahmasbi-Sargholi, F; Malmali, O; Sohrab-Nejad, A. (1400). "Narrative mechanism in Leyli and Majnun Based on the Greimas Model". Literary Criticism and Stylistics Studies, 2012. Vol. 2 (44 in a row). pp. 47-66. Toolan, M. J. (1987). Narrative Studies: A Linguistic-Critical Introduction, Translated by Seyyed Fatemeh Alavi and Fatemeh Nemati. Tehran: Samt. Tyson, L. (1988). Theories of Contemporary Literary Criticism, Translated by Maziar Hosseinzadeh and Fatemeh Hosseini, Tehran: Negah-e- Emruz. Zarrinkoub, A. (1993). Pir-e- Ganje dar jostojoye nakojaabad. Tehran: Sokhan. بررسی و تحلیل آثار ادبی بر مبنای نظریه‌های جهانی ، علاوه بر کمک به درک بهتر ساختار داستان‌ها، می‌تواند در فهم عمیق‌تر متن مددرسان باشد. یکی از بزرگ‌ترین نظریه پردازان ساختارگرا در زمینة روایت، آلژیرداس ژولین گریماس است. آرای وی به سبب دارابودنِ تقسیم-بندی‌های ویژه‌ و خاصیتِ انعطاف‌پذیری، مورد استقبال بسیاری از پژوهشگران قرارگرفته‌است. براین اساس، جستار پیش‌رو می‌کوشد با رویکرد توصیفی- تحلیلی، ساختار طرح اصلی روایت «بهرام‌گور در گنبد سیاه» هفت‌پیکر نظامی را برمبنای برخی از مهم‌ترین آرای گریماس (تقابل-های دوگانه، زنجیره‌های روایی و الگوی کنشگر) مورد ارزیابی و تحلیل قراردهد و به تحلیل کنشگران و چگونگی شکل‌گیری سازه‌های تشکیل‌دهندة رخدادها در آن بپردازد. طبق یافته‌های پژوهش، در این روایت، داستان با وضعیت متعادل آغازین (کامرانی پادشاه در قصر) شروع می-شود؛ با کنجکاوی پادشاه برای کشف راز سیه‌پوشی مردمان، به وضعیت نامتعادل میانی مبدل می‌شود و با کشف راز سیه‌پوشی توسط پادشاه به وضعیت متعادل پایانی می‌رسد. کنشگران اصلی الگوی کنشی گریماس نیز چنین بازیابی شده‌اند: فرستنده: کنجکاوی پادشاه، گیرنده: پادشاه، فاعل: پادشاه، مفعول: کشف راز سیه‌پوشی، یاریگر: مرد قصاب و مرغ تنومند، بازدارنده: مردم شهر مدهوشان. عناصر بنیادی زنجیره‌های سه گانة روایی (میثاقی، اجرایی و انفصالی) نیز (همانند دیگر مؤلفه‌ها) قابل تبیین و تطبیق با آرای گریماس هستند.

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دانشگاه سیستان و بلوچستان پژوهشنامه ادب غنایی 2008-5737 24 46 2026 03 21 Analysis of the Debate with Musical Instruments in Fuzuli Baghdadi's Sāqīnāmah تحلیل مناظره با آلات بزم در ساقی‌نامۀ فضولی بغدادی 133 148 9535 10.22111/jllr.2025.48406.3246 FA سهند سلطاندوست دانش‌آموختۀ دکتری، گروه پژوهش هنر، دانشگاه تربیت مدرس، تهران، ایران. مهدی کشاورز افشار استادیار، گروه پژوهش هنر، دانشگاه تربیت مدرس، تهران، ایران(نویسنده مسئول) امیرحسین داودوندی دانشجوی دکتری، گروه تاریخ، دانشگاه تهران، ایران Journal Article 2024 04 08 Muhammad bin Suleyman, known as Fuzuli, was a Shiite poet of the 16th century who composed poems in Azeri Turkish, Persian, and Arabic. He lived during the reign of the Safavid Shah-Tahmasb and the Ottoman Sultan-Murad. Fuzuli's reputation is primarily in the Turkish literature. His well-known work, Sāqīnāmah, includes 320 verses divided into an introduction and seven sections, which contain a debate among musical instruments such as Ney, Daf, Oud, Tanbur, and Qanun, culminating in a talk with the musician himself. The issue of music and its instruments during the Safavid era, the religious and social attitudes towards them, and the presumed character of each instrument at that time are significant topics for research in this piece. Fuzuli's wavering stance on musical instruments and how his religious beliefs influenced his views on music are among the findings of studying Sāqīnāmah. After three hundred verses describing the pleasures of feasting and festivity, along with all the esoteric talks regarding the instruments, each representing a teaching such as righteousness and selflessness, Fuzuli speaks of the prohibition of these instruments. This paper analyzes Sāqīnāmah using a descriptive-analytical approach and library sources, focusing on its literary and artistic aspects, particularly examining its musical terminology. Extended abstract 1. Introduction Maulana Muhammad ibn Sulayman, pen name Fuzuli, is one of the prominent poets of the tenth century of the Islamic calendar who has gained a special place in the history of regional literature by creating works in three languages: Azerbaijani, Persian, and Arabic. He should not only be considered an exceptional figure in the Turkish literary tradition, but also an important and influential figure in the field of Persian poetry in the Ottoman Empire. Fuzuli, who according to Masoudiyah (1391: 147) was born in Baghdad and died around 968 or 970 AH, created an artistic connection between the multilingual and multicultural traditions of his era in his poems and created works that are considered important sources for understanding the literary taste and artistic taste of the Ottoman period. Fuzuli Baghdadi’s Persian Saqinama, known as the Saqinama of the Seven Cups, is one of the prominent examples of lyrical literature in Persian and a notable poetic work in connection with music and feasting. This poem is composed in 327 verses and is structured in seven sections or “cups” and has a debate-based structure. In each section, the poet engages in a symbolic, imaginative, and sometimes critical dialogue with one of the common instruments of the feasts of that time, such as the reed, the daf, the harp, the oud, the tambourine, and the qanun. These debates, in addition to the creative structure of the work, are also noteworthy in terms of content, because they contain most of the indicators of lyrical literature. Indicators of lyrical literature include being emotional and sentimental, being romantic and mystical, a sad atmosphere, a negative view of the world, precise descriptions, introspection, and reflection on human weaknesses and moral characteristics (Mushtaq Mehr, 2016: 183-184). On the other hand, mystical and moral themes such as advice to the singer, distrust of instruments, and reflection on the relationship between music and reality also have a central place in this work; as Mohammad Taqi Masoudieh (1391: 147) and Mohammad Taqi Daneshpajouh (1391: 219) have mentioned this work in their lists as an illustrative example of musical compositions with a mystical-literary perspective. Thus, the Saqinameh of the Seven Cups not only has a special place in the tradition of Saqinameh writing, but also plays a prominent role in the continuous discourses with lyrical, mystical, and musical literature. This article, titled "Analysis of the Debate with Festive Instruments in Fuzuli Baghdadi's Saqiname," attempts to examine the poet's view of instruments and the relationships between music, festivities, and religious approach by focusing on the debate structure of this work. In the meantime, it also recognizes the place of Fuzuli's Saqiname in the Persian tradition of Saqiname writing. 2. Research Methodology The present study has examined Fuzuli Baghdadi's Saqinameh using a descriptive-analytical method. Despite several manuscripts of this work in different libraries, the revised version by Hasibeh Mazioglu in the book Divan Farsi Fuzuli was the basis of the researchers' work. The method of collecting information in this article was to write a list and take notes from library sources, which was ultimately accompanied by a qualitative analysis by the researchers. .3. Discussion and Results The Saqinameh of Fuzuli in the printed version we are examining contains 320 verses, and consists of an introduction, seven sections entitled "The Awakening of the Cup" from the first to the seventh, as well as a debate with the instruments of the ney, daf, harp, oud, tambour, qanun, and finally with the singer himself, which are placed as a dramatic interlude between the sections respectively designated as "The Awakening of the Cup...". Saqinameh of Fuzuli is a mystical-musical poem in which debates between various instruments are used as a means to express mystical and philosophical concepts. In this work, the poet explores themes such as love, asceticism, truth, and spirituality using instruments such as ney, daf, harp, tambour, and qanun. Each of these instruments has specific symbols, and through the dialogues between these instruments, different human characteristics and romantic and spiritual relationships are analyzed. At the beginning of the work, the ney instrument is introduced as a symbol of separation and connection to the beloved. In the debate with the ney, the poet speaks of separation and distance from the beloved and recognizes the ney as a tool for expressing sadness and loneliness. On the other hand, the daf, which reveals the complexities and contradictions of love by playing it, is used in the debates as a sign of suffering and at the same time hope. In the debate with the harp, this instrument is introduced as a representative of emotional and introspective poetic feelings. In the following sections, the debate with the tambourine and the law discusses different levels of spirituality and truth. The tambourine is initially introduced by the poet as a symbol of error and error. The poet sees this instrument as the source of many mistakes and objects to it, arguing that it can somehow cause ignorance of spirituality and truth. But in the sequel, the tambourine itself speaks from other perspectives and defends its position. The tambourine emphasizes that truth is universally hidden in music, and in this regard, the negative view of this instrument changes. In the debate with the law, this instrument is introduced as a symbol of wisdom and silence in the face of the secrets of the world. By playing itself, the law tries to prevent man from endless thoughts and pride and to guide him to an inner truth. In this part, the instrument of the law is placed as a symbol of submission and satisfaction before God and time. Finally, in the debate with the singer, the poet severely criticizes the instruments and emphasizes that instruments cannot in fact represent the original truth. The singer, who is a kind of representative of wisdom and deep understanding, clearly states that instruments are only appearances and tools for expressing feelings and that the real truth is beyond them. The singer emphasizes that inner secrets should be preserved and that one should not easily reveal everything. This part of the work refers to a return to the inner self and the search for the truth hidden in the heart of man. Finally, the poet emphasizes using phrases that only someone who is pure from within can understand the truth and show it in action. In this part, the nosy implicitly recommends inner goodness and avoiding ostentation, and finally finds its way to the core of the law. 4. Conclusion Fuzuli Baghdadi’s Saqinama is a unique work in the Persian Saqinama tradition, which, with its structure centered on a debate between the poet and musical instruments, provides a symbolic and mystical space for a conversation about existence, love, and mystical conduct. By bringing instruments such as the reed, daf, harp, oud, and tambour to life, Fuzuli has made each one represent a human and vocal state to express existential philosophy and the path to liberation, thus transforming the language of music into a channel for explaining mystical concepts. At the climax of the work, the singer, as the last speaker, questions all previous conversations and characters, calling the instruments revealing and disloyal. This sudden tonal shift indicates the poet’s internal conflict between the charms of music and religious considerations. This transformation not only surprises the reader, but also indicates the complexity of the poet's thought and the conflict between mystical and ethical traditions in his cultural context. In this poem, Fuzuli has used music not as an independent knowledge, but as an allegory for human states and the path to mystical truth. Symbolic language, literary devices, and multilayered allusions have shaped the rich and multidimensional linguistic structure of the work. His Saqinama is ultimately a thought-provoking work about man, love, mystery, and truth that, in a poetic oscillation between praise and denial, accompanies the reader in a mystical and aesthetic reflection. 5. References Afshar, S. (1948). Tazkareh-ye Majma’ al-Khavas. Tehran: Akhtar Shomal. [In Persian]. Browne, E. (1956). A Literary History of Persia. Tehran: Ibn Sina. [In Persian]. Danesh Pajouh, M.T. (2011). Fehrest-e Asar Khati dar Moosighi (Persian, Arabic, Turkish). Tehran: Markaz-e Nashr-e Daneshgahi. [In Persian]. Fuzuli Baqdadi, M. (1995). Divan-e Farsi-e Fuzuli. Tehran: Doostan. [In Persian]. Hafez, SH. (2020). Divan-e Hafez. Tehran: Safialishah. [In Persian]. Massoudieh, M. (2012). Fehrest-e Noshakh-e Khati-e Moosighi-e Irani. Tehran: Pajooheshkade-ye Honar. [In Persian]. Mehdipour, M., & Mirzayanfar, L. (2013). A comparative analysis of libertine, Qalandari, and Magian motifs in the ghazals of Hafez and Fuzuli. Pajuheshname-ye Adab-e Ghanayi (Research Journal of Lyrical Literature). 11(21), 181–200. [In Persian]. Modarres Tabrizi, M.A. (1995). Reihanat al-Adab. Tehran: Khayyam. [In Persian]. Moshtaq-Mehr, R., & Bafkar, S. (2016). “Thematic and formal indicators of lyrical literature”. Pajuheshname-ye Adab-e Ghanayi (Research Journal of Lyrical Literature). 14(26), 183–302. [In Persian]. Nafissi, S. (1961). Tarikh-e Nazm va Nasr dar Iran va Adabiyat-e Farsi. Tehran: Foroughi. [In Persian]. Nasrabadi Isfahani, M.T. (1938). Tazkareh-ye Nasrabadi. Tehran: Armaghan. [In Persian]. Razi, A.A. (1999). Tazkareh Haft Eghlim. Tehran: Soroush. [In Persian]. Rypka et al. (2006). History of Iranian Literature. Tehran: Elmi va Farhangi. [In Persian]. Saba, M. (1964). Tazkareh-ye Ruz-e Roshan. Tehran: Razi. [In Persian] Safavi, S. (1935). Tohfeh-ye Sami. Tehran: Armaghan. [In Persian]. Valeh Daghestani, A. (2005). Tazkareh-ye Riaz al-Sho’ara. Tehran: Asatir. [In Persian]. محمدبن سلیمان متخلص به فضولی شاعر شیعۀ سدۀ دهم هجری قمری است که اشعاری به زبان‌های ترکی آذربایجانی و فارسی و عربی سروده. وی معاصر شاه طهماسب صفوی و سلطان مراد، حاکم عثمانی بوده است. اهمیت اصلی فضولی را در عرصۀ ادبیات ترکی قلمداد کرده‌اند. ساقی‌نامۀ وی مشهور به ساقی‌نامۀ هفت جام دربردارندۀ ۳۲۰ بیت و مشتمل است بر یک مقدمه و هفت بخش که مناظره با سازهای نی، دف، عود، طنبور، قانون و در آخر خودِ مطرب را دربرمی‌گیرد. این مقاله به روش توصیفی-تحلیلی و با استفاده از منابع کتابخانه‌ای ساقی‌نامه را به لحاظ مذهبی، ادبی و هنری به‌ویژه بررسی اصطلاحات مرتبط با موسیقی بررسی می‌کند. پرسش اصلی پژوهش آن است که موضع‌گیری مذهبی و اجتماعی نسبت به ساز و موسیقی در عصر صفوی چگونه در شخصیت‌بخشی به سازها در ساقی‌نامۀ فضولی بازتاب یافته است. بلاتکلیفی شاعر در بیان رویکردش به آلات موسیقی و نحوۀ تأثیر افکار مذهبی وی دربارۀ موسیقی از نتایج تحلیل موضع کلی او در ساقی‌نامه است. شاعر پس از سیصد بیت در وصف مجلس عیش و عشرت و محفل بزم و طرب، و آن‌همه گفتارهای عارفانه با سازها که هریک آموزه‌ای از قبیل وارستگی و ازخودگذشتگی دارند، از حرمت آلات سخن می‌گوید.

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دانشگاه سیستان و بلوچستان پژوهشنامه ادب غنایی 2008-5737 24 46 2026 03 21 Investigating the position of humor in Attar Nishaburi's Masnavis بررسی طنز موقعیت در مثنوی‌های عطار نیشابوری 149 168 8996 10.22111/jllr.2025.49962.3292 FA فاطمه سلطانی دانشیار گروه زبان و ادبیات فارسی، دانشگاه اراک، اراک، ایران(نویسنده مسئول) Journal Article 2024 10 03 The basis of humor is to create a situation or a set of unexpected situations for the audience. Situational humor is an excellent and deep humor with the image of people's situations, events and actions. This type of humor is based on images, ideas and concepts and a mixture of behavior, situation, scene and speech, which can be achieved by understanding the space and architecture of the work.Atar Neishabouri is one of the poets who has reflected the sufferings and social anomalies of his era by creating humorous situations in his stories. The current research, which is written in a descriptive-analytical method, examines the types of humorous situations in Attar's works and seeks to answer the question of the elements that caused the creation of humorous situations in Attar's masnavis.What are the factors and situations in Attar's masnavis that cause humor? Based on the investigations carried out in the Masnavis of Asrarnameh, Elahi Nameh, Plahab Nameh and Logic of Al-Tair, it was revealed; The presence of factors such as characterization, words and speech, design, time and place in these works have often created humorous situations Extended abstract 1. Introduction The basis of humor is the creation of a situation or a set of unexpected situations for the audience. Situational humor is a refined and profound form of humor that emerges through the depiction of people’s situations, events, and actions. This type of humor is based on images, ideas, and concepts, blending behavior, setting, scene, and dialogue, which can be understood by analyzing the spatial and structural elements of the work. Breaking norms and disrupting cause-and-effect relationships within the fundamental elements of a story or a performance—such as characterization, dialogue, time and place, plot, and action—provides an optimal framework for creating a humorous atmosphere and situation. (Soleimani, 2016: 44-49, 93) This form of humor is structured around a paradoxical combination of seriousness and amusement, built upon unexpected situations that engage the audience. In its deeper layers, it reflects the author’s satirical perspective on the flawed and misleading social structures of human society. The language of mystics is inherently suggestive, paradoxical, imaginative, relative, and dual-layered. As such, it is particularly well-suited for the literary genres of humor and irony. Among the primary reasons mystics employ humorous and ironic language are the teaching of ethical virtues and mystical conduct, enhancing the audience’s comprehension, and providing solace to troubled and suffering souls. (Foladi, 2006: 37) Some scholars argue that a Sufi humorist is both a reformer of individuals and a reformer of society. As a perfectionist, such a mystic opposes anything base and meaningless. Witnessing personal and social flaws, he blends the bitterness of shortcomings with the sweetness of humor, making them more palatable so that individuals and society may confront and remedy their defects. (Zarin Koob, 2009: 170-171) Attar Neishabouri is among the poets who frequently employed anecdotes and allegories to convey humorous messages. Humor constitutes one of his distinctive linguistic capabilities, which he utilized to express mystical concepts. Generally, the effect of situational humor is more prominent in stories and plays due to the inherent structure of dramatic logic. Stories, through the creation of diverse imagery and a space interwoven with both imagination and reality, establish a connection with the audience. In addition to addressing individual and social issues, they also provide entertainment for readers or listeners. (Fanny, R., Fazeli, F., & Ranjbar, 2017: 170) It is evident that Attar’s humor, as a mystic, is closely linked to the emotions and perspectives of a particular social class in his era—namely, the sincere and pure-hearted Sufis. Thus, anything that contradicts these ideals is deemed worthy of satire and sarcasm. 2- Research methodology In this essay, the author has collected the research data through a library-based approach, relying on library documents. Then, he has investigated and analyzed situational humor in Attar's Masnavis using a descriptive-analytical method. Humor is one of the main tools in mystical texts and one of the fundamental features of Attar's language, which is reflected in most of his works. Based on this, examining mystical anecdotes from the perspective of situational humor, and understanding their spatial and structural aspects, not only helps to familiarize readers with the concept of situational humor as a literary genre in poetic works but also unveils the secrets, meanings, and hidden layers of mystical literature. This essay explores situational humor in four of Attar's Masnavis: Asrarnameh, Elahinameh, Mosibatnameh, and Manteq al-Tayr. It seeks to answer the question of which factors and situations in Attar's Masnavis contribute to humor and what techniques the poet employed to create humorous situations. 3-Discussion Humor is divided into two major categories based on verbal context and structure: phrasal humor and situational humor. Phrasal humor is formed through linguistic play, utilizing elements such as appropriateness, contrast, word similarity, and rhetorical devices like brevity, rhyme, pun, ambiguity, and paradox. In contrast, situational humor is based on imagery, imagination, and conceptual structures, where the spatial arrangement of characters and objects within the narrative and their interactions create humor. Situational humor in a story is essentially the creation of a humorous atmosphere, shaped by key narrative elements such as characters, plot, behavior, events, time, and place. Based on this, it can be said that situational humor presents a depiction of human conditions, events, and actions in a way that involves analogy, juxtaposition, contrast, and comparison. This type of humor is derived from a combination of behavior, situation, setting, and speech, but its primary focus lies in the situation itself rather than verbal wordplay. Regarding how situational humor emerges, it is said: "The author creates a humorous atmosphere by displacing characters and placing them in disproportionate temporal and spatial conditions or altering their status. In this type of humor, the resulting conflict and confrontation generate humor, independent of linguistic expressions and phrases." (Qeysari & Sarfi, 2009: 7) Situational humor can manifest even in serious works, typically arising from the development of an unexpected situation, event, or occurrence. The foundation of humor lies in the creation of unforeseen and unpredictable circumstances for the audience. The most conventional form of unexpected situations is "incongruity", wherein an actor presents a message or idea, situates it within a specific context, and then, through narrative techniques, dramatic actions, or performance, establishes a framework—only to abruptly disrupt or reframe it. The tension between the initial framing and the subsequent reframing results in the audience's amused reaction. The degree of humor in situational comedy depends on several factors, including the strength of the imagery crafted by the author and the depth of effort invested in shaping those images, as well as the audience’s perceptual ability, which is closely linked to their mental visualization skills. (Karimian, 2009: 44) Characterization, dialogue, time, setting, plot, and behavior are the most essential elements in dramatic and fictional works. Nearly all prominent contemporary satirists agree that breaking conventional narrative structures, disrupting habitual cause-and-effect relationships, and introducing sudden and unexpected twists in plot, characterization, time, and setting are the most effective techniques for generating a humorous atmosphere. 4-Conclusion Attar Neishabouri, who was suffering and tormented by seeing the deep difference between the existing life and the idea of a normal life, was able to achieve his high goal and instill his desired concepts with the tool of humor. In his Masnavis, Attar has used almost all situational possibilities for humor. The description of the behavioral, psychological, and social characteristics of the characters and the communication network between them has created a potential capacity for comedy in his works. The ways that Attar has used to create humorous situations in his Masnavis include: creating insane characters, creating contradictory characters against each other, creating incompatible characters together, creating characters with contradictory behaviors, and creating humorous situations using the names of the characters. Attar has also created humorous situations through behavioral surprises, unexpected turns in the story plot, displacement of values, inherently humorous designs, and finally, placing the characters in irrelevant and inappropriate times and places. The inconsistency between fictional characters, meaning the contrast between what is expected and what actually happens, has led to the creation of fear, anger, and other negative emotions in the satirical characters. The points and characteristics that Attar has targeted with humor are both his own mental concerns and a model of the actions and behaviors of people in society. In his works, features such as hypocrisy, greed, injustice, cruelty, pretentious and boastful people, insincere worshippers, cruel and unfair kings, etc., are always subjected to satire, mockery, and criticism. The last point is that Attar's humor does not only remind us of human flaws; rather, it also emphasizes human virtues and desirable qualities in contrast to vices. He laughs at people's faults to make them reflect, correct their faults, and not behave like the condemned characters. With his jokes and humorous language, he disgraces those who contribute to the abnormality of society. Attar's humor has a clear and exaggerated educational purpose, and its goal is to serve moral betterment and a better way of life. References Arianpour, Y. (2003). From Saba to Nima (2nd volume), 8th edition. Tehran: Zavar. Arasto. (1978). The Art of Poetry, translated by Abdul Hossein Zarin Koob. Tehran: Amir Kabir. Aslani, M. (2011). Dictionary of words and terms of humor, third edition. Tehran: Gatre. Attar Neyshaburi. (1982). Asrarname, with correction and description of Seyyed Sadegh Goharin. Tehran: Zavar. Attar Neyshaburi. (1980). Elahiname, correction and introduction by Helmut Ritter. Tehran: Tos. Attar Neyshaburi. (2003). Manteghotteir, revised and completed by Seyyed Sadegh Goharin, 19th edition. Tehran: Elmi and Farhangi. Attar Neyshaburi. (2007). Mosibatname, corrected by Mohammad Reza Shafiei Kadkani. Tehran: Sokhan. Bergson, H. (2000). Khande, translated by Abbas Bagheri. Tehran: Shabaviz. Dad, S. (2004). Dictionary of literary terms, second edition. Tehran: Morvarid. Esmaili, F. (2008). "Conversation with the author of the Iranian soup book is a rumor of silence under words!" No. 128, consecutive, p. 9, Saturday 21 Tir. Evans, D. (2011). The Seven Commandments of Humorous Writing, translated by Mohsen Fanny. Fanny, R., Fazeli, F., & Ranjbar, M. (2017). "A look at the humor of the situation in Abbas Maroufi's fictional works based on the two stories 'The Year of Riot' and 'Symphony of the Dead'." Journal of Persian Language and Literature of Tabriz University, Year 71, No. 238, pp. 198-96. Foladi, A. (2006). Humor in the language of mysticism. Qom: Afarineh, Faragoft. Hamley, R. (2016). Freedom from the shackles of reason, translated by Mohsen Soleimani, second edition. Tehran: Sore Mehr. Heydari, M. (1998). "An introduction to humor from the point of view of reason and narration." Research and Measurement Quarterly, No. 13, pp. 115-154. Hori, A. (2008). About humor, new approaches to humor and humor. Tehran: Sore Mehr. Jazini, M.J., & Others. (1999). Five theoretical essays in fiction literature. Tehran: Nahl. Karimian, M. (2010). Notes on humor and sarcasm. Tehran: Radio Research Office. Mojabi, J. (2004). Nishkhand Irani. Tehran: Rozaneh. Moini, S. (2016). "Situation of Humor in Masnavi." The Third Literary Research Text Conference, pp. 136-157. Naseri, N. (2008). "Effects of mystical humor in Attar's Masnavis." Religions and Mysticism, The Fifth Year, pp. 155-182. Nayyeri, Y., & Mohammad, A. (2015). "Shabli's image in Manteghotteir and other works of Attar." A specialized quarterly of analysis and criticism of Persian language and literature texts, No. 28, pp. 9-41. Poor Namdarian, T. (1995). In the shadow of the sun. Tehran: Ayat. Qeysari, & Sarfi, M. (2009). "Humor in The Lovely War Book." Journal of Sustainability Literature, University of Kerman, pp. 113-125. Ravanjo, M. (2008). Tears and Smiles. Cinema Review Magazine, pp. 26-28. Ritter, H. (2009). Darya Jan, translated by Abbas Zaryab Khoei and Mehr Afaq Baybordi. Tehran: Hoda International Publications. Safavi, K. (2005). "Advance on humor from the perspective of linguistics." Azma Monthly, vol. 36, p. 16. Shafiei Kadkani, M.R. (2010). Mofles Kimiaforosh, 4th edition. Tehran: Sokhan. Shafiei Kadkani, M.R. (1998). "Table Poem." Bukhara Magazine, pp. 46-59. Shafiei Kadkani, M.R. (2012). The language of poetry in Sufiya's prose. Tehran: Sokhan. Shiri, G. (2008). "The secret of humor." Research and Assessment Quarterly, No. 13-14, pp. 125-128. Soleimani, M. (2016). Humor in simple language. Tehran: Soroush. Soleimani, M. (2017). The secrets and tools of satirical writing, second edition. Tehran: Sore Mehr. Vahidian Kamyar, T. (2000). Innovative from an aesthetic point of view. Tehran: Dostan. Yathrebi, Ch. (1997). "Creating a situation comedy is not so easy." Cinema and Theater Magazine, No. 24, p. 28. Zarin Koob, A. (2009). Poetry without lies, poetry without veil. Tehran: Elmi. Ziyai, M. R. (1999). "Parviz Shapour cartoon space." Gul-Agha Monthly, Year 9, No. 6, pp. 10-13. اساس شوخ طبعی خلق یک موقعیت یا مجموعه موقعیت‌های غیرمنتظره و غیرمترقبه برای مخاطب است. طنز موقعیت نوعی طنز عالی و عمیق با تصویر وضعیت‌ها، وقایع و کردارهای آدم-ها است. این نوع طنز مبتنی برتصویرها، تصورها و مفهوم‌ها و آمیزه‌ای از رفتار، موقعیت، صحنه و گفتار است که با درک فضا و معماری اثر می‌توان بدان رسید. عطار نیشابوری یکی از شاعرانی است که با ایجاد موقعیت‌های طنزآمیز در حکایت‌های خود، مصائب و نابهنجاری‌های اجتماعی عصر خود را بازتاب داده است. پژوهش حاضر که به روش توصیفی- تحلیلی نگاشته شده‌است، به بررسی انواع موقعیت‌های طنزآمیزدر آثار عطار می‌پردازد و به دنبال پاسخ به این پرسش است که عناصری که سبب خلق موقعیت‌های طنزآمیز در مثنوی‌های عطار شده‌اند، کدامند و چه عوامل و موقعیت‌هایی در مثنوی‌های عطار سبب ایجاد طنز شده‌است؛ براساس بررسی‌های بعمل آمده در مثنویهای اسرارنامه، الهی نامه، مصیبت نامه و منطق الطیر آشکار شد؛ وجود عواملی نظیر شخصیت‌پردازی، کلام و گفتار، طرح، زمان و مکان در این آثار اغلب موقعیت‌های طنزآمیز را در شعر عطار ایجاد کرده است.

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دانشگاه سیستان و بلوچستان پژوهشنامه ادب غنایی 2008-5737 24 46 2026 03 21 Discourse encounter with Frankish Beloved in Persian literature مواجهۀ گفتمانی با معشوق فرنگی در ادبیات فارسی 169 188 9147 10.22111/jllr.2025.50676.3302 FA اسماعیل علی پور استادیار گروه زبان و ادبیات فارسی، دانشگاه بجنورد، بجنورد، ایران. Journal Article 2024 12 31 Beloved in Persian literature often has an Iranian identity and the signs of the beauty of his body are derived from Iranian aesthetic. other types of beloveds in the geography of Persian literature are non-Iranian which may be Arabic, Indian, Turkish, or Frankish. these are interpreted as other. Part of the process of our understanding of the "other" in relation to "ourselves" is the result of body awareness and bodily perceptions whether a natural body or a cultural body. many researches whose subject is the examination of the image of the beloved in Persian literature none of them have addressed what and how it is a type of love. The main question was who is Frankish beloved? And how is it represented in Persian literature? This question brings other questions that we will address in the article. The findings show that the image of a Frankish beloved is not different from an Iranian beloved and the same codes and signs of body beauty that an Iranian beloved has are also used for a Persian Beloved. In addition, the most common form of love interest is in the branch of poetry and especially the sub-genre of the romantic lyric. Extended abstract 1. Introduction If we use nationality or ethnicity as the criterion for classifying the beloved in the history of Persian literature, the subject (regarding identification) of the beloved can be divided into five types: Iranian, Indian, Turkish, Arabic and Frankish. The terms Farak and Frankish have traces from the earliest periods of the history of Persian Dari literature (see Abu Sa'id Abu al-Khair, 1955: 54 and 75; Ferdowsi, 1989: 5/19-20 and 50; Sa'di, 1984: 331). The Western beloved in the Shahnameh is Roman against Iranian; in Khosrow and Shirin Roman and Armenian against Iranian and in the subgenre of the love Ghazal of the Safavid period especially in the poems of Saʼeb-e Tabrizi, Jouyay-e Tabrizi, Bidel-e Dehlavi, Qodsi-e Mashhadi and... is European, Armenian, Georgian and Russian. The Frankish beloved is first represented in the Ferdowsi's Shahnameh, Nezami's Khosrow and Shirin and then in Attar's Mantegh al-Tayr. After this the Frankish beloved entered Persian Ghazal based on the aforementioned works and had the same characteristics as those mentioned in these works. From the Safavid period onwards the aesthetic manifestations of the Frankish beloved in Persian Ghazal became more and more diverse. Despite the many examples and testimonials of this beloved in Persian literature no independent research has been conducted on this subject and the way in which it is represented in Persian literature is unknown. Therefore, the present article attempts to show after stating the characteristics of the figures of the Frankish beloved based on the collected testimonials whether these characteristics have only a descriptive and aesthetic aspect or whether they are a cultural and discursive issue? 2. Research Methodology The research method of this article is qualitative research. This method analyzes the subject of the research based on the identification, collection and classification of non-quantitative (qualitative) data. Library resources on which the present study is based are a type of non-quantitative data on which the required information can be collected. In the present study from the third to the thirteenth century AH we searched for sources in which we thought we would find descriptions of the image of the Frankish beloved including sources of poetry and prose. The texts were selected randomly but in general the two pre-Safavid and Safavid periods were considered in terms of time. After this we tried to show how the image of the Frankish beloved was represented in the works of Persian poets and writers. Before this we first looked at research in which we thought we would find traces of the image of the Frankish beloved. 3. Discusstion The body is associated with two interpretations: “natural body” and “cultural body” (see Zarghani et al.: 2019: 34). Each of these interpretations is an approach to how the body has been encountered in the history of literature. In the first approach the organs are merely represented such as the descriptions of the body in the “Sarapanameh”. The natural body focuses on the beauty of the body which may have an erotic or aesthetic dimension but the second approach carries cultural codes and signs that constitute the identity and structure of the dominant discourse. In this way we have divided the structure of this article into two parts: “Characteristics of the body of the Frankish beloved” and “Discursive encounter with the Frankish beloved”. In the first part what has been of most interest to Persian speakers is the face, eyes, eyelashes, height, skin color, coyness and modesty. The second part begins with this question: Is the image of these characters represented in Persian, Roman and Armenian Literature Frankish or Iranian? The coexistence of non-Iranian characters and Iranian aesthetic indicators has made the depictions indigenous. Here a set of Iranian symbolic systems of colors, clothing and makeup have been transferred to a non-Iranian body and have covered and adorned it. The function of these symbolic systems is to localize a non-Iranian element in the discourse of Iranian culture. In this way, imagery as a discursive element causes the dynamism and development of one's own culture, transforming it from a one-dimensional state to a multifaceted one; a space that also carries intercultural links and messages. Imagery as a discursive tool not only enhances the aesthetic quality of literature but also plays an important role in reshaping and revitalizing cultural identity. By introducing new dimensions and perspectives it challenges stereotypical views and provides a more accurate understanding of one’s own culture. This dynamic process shows how literature can both reflect the aesthetic standards and values of one’s own (indigenous) culture and be a window to external dialogues. 4. Conclusion The audience of Persian Ghazal poetry considers what they see in the cultural world around them beautiful and consequently projects and generalizes the desirable features of physical beauty. This is why we do not have a different image of Katayoun, Maryam, Shirin and Tarsa Girl who are the type of Frankish beloved in Persian literature compared to the image of the Iranian beloved. Before the Safavid period, the adjective "Frankish" was not used to describe the beauty of the body of the beloved. From the Safavid period onwards terms such as Frankish gaze/eyelash, Frankish eyelashes, Frankish face, Frankish color, Frankish modesty, agile height of the Frankish and the beauty of the Frankish idol were introduced into Persian lyric poetry. However, the aforementioned characteristics are not such as to create a distinction in the image of the Frankish beloved. Therefore, the Frankish beloved has the physical characteristics of the Iranian beloved and represents the aesthetic discourse of the Iranian beloved. The body of the Frankish beloved in Persian literature is not an imitation of his real body and face but a constructed body. The constructed body is a cultural, climatic, historical and discursive phenomenon. therefore, it is a relative category because its representation in different cultures, places, times and discourses is different. Representing the Frankish beloved in the physical characteristics and clothing of the Iranian beloved is a type of artistic transformation that helps enrich the native culture. The artistic adaptation of foreign elements within the framework of the native culture acts as a creative mechanism for cultural enrichment. By embodying the Frankish beloved in the physical characteristics of the Iranian beloved this type of representation strengthens the native identity and expresses the flexibility and adaptability of the native culture in the face of intercultural relations. 5. References Abu Sa'id Abu al-Khair. (1955). Poetic Speeches of Abu Sa'id Abu al-Khair, edited by: Sa'id Nafisi, Tehran: Shams Library. Aflaki, A. (1959). Managheb al-Arefin, 2 vols., Ankara: Np. 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History of the Body in Literature, Tehran: Sokhan. معشوق در ادبیات فارسی غالباً هویت ایرانی دارد و رمزگان و نشانه‌های زیبایی پیکرین او هم برگرفته از معیارهای زیبایی‌شناسی ایرانی است. با وجود این، گونه‌های دیگری از معشوق در جغرافیای خیال و ادبیات فارسی، غیرایرانی هستند که ممکن است عربی، هندی، ترکی یا فرنگی باشند. در گفتمان ملی‌گرایی از این‌ها به «دیگری» تعبیر می‌شود. بخشی از فرآیند شناخت ما از «دیگری» نسبت به «خود» برآیند بدن‌آگاهی و دریافت‌های بدن‌مند است؛ چه بدن طبیعی باشد و چه بدنِ فرهنگی. با وجود پژوهش‌های بسیاری که موضوع آن‌ها بررسی سیمای معشوق در ادبیات فارسی است، هیچ‌کدام آن‌ها به چیستی و چگونگی گونۀ فرنگیِ آن نپرداخته‌اند. پرسشی که در آغاز این بحث ما را به کاوش واداشت، این بود که معشوق فرنگی کیست؟ و در ادبیات فارسی چگونه بازنمایی شده‌است؟ این پرسش، پرسش‌های دیگری را هم به ذهن متبادر می‌کند که در ضمن مقاله به آن‌ها می‌پردازیم. یافته‌های تحقیق نشان‌می‌دهد که تصویرِ معشوق فرنگی تفاوتی با معشوق ایرانی ندارد و همان رمزگان و نشانه‌های زیبایی پیکرین که معشوق ایرانی دارد برای معشوق فرنگی هم به-کاررفته‌است. افزون بر این، بیشترین نمود معشوق فرنگی در شاخۀ شعر و به‌ویژه زیرژانر غزل عاشقانه است.

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دانشگاه سیستان و بلوچستان پژوهشنامه ادب غنایی 2008-5737 24 46 2026 03 21 Analysis of the story of Homay and Homayun based on Sternberg's ideas بررسی داستان همای و همایون بر اساس آرای استرنبرگ 189 208 9488 10.22111/jllr.2025.52226.3347 FA آزاده فلاح دانشجوی دکتری گروه زبان و ادبیات فارسی، واحد مشهد، دانشگاه آزاد اسلامی، مشهد، ایران. محمد رضا معصومی دانشیار گروه زبان و ادبیات فارسی، واحد اصفهان(خوراسگان)، دانشگاه آزاد اسلامی، اصفهان، ایران.(نویسنده مسئول) خدیجه بهرامی رهنما استادیار گروه زبان و ادبیات فارسی، واحد یادگار امام خمینی (ره) شهر ری، دانشگاه آزاد اسلامی، تهران، ایران Journal Article 2025 06 04 According to Sternberg In his opinion, passion, intimacy, and commitment are the main pillars of the triangle of love, and the combination of these three pillars forms the types of love. In this research, which is a descriptive-analytical study the data collection has been carried out in the form of library studies, and dedicated to the components of love in Khaju Kermani's Homay and Homayun based on Robert Sternberg's views. In this article, after a brief explanation of Sternberg's three pyramids of love, we have cited examples from Khaju Kermani in Homay and Homayun in order to find out the nature of love in Homay and Homayun based on Sternberg's components of love and to find out what the pattern of relationships between the characters in the story's lyrical system of Homay and Homayun is like according to Sternberg's theory of the triangle of love. The results study show that the patterns in relationships of the characters in the story correspond to the components of Sternberg's love triangle. In the romantic relationships of the important characters in the story , all the components of Sternberg's triangle of love are present, and each of the romantic relationships is durable and stable. Extended abstract 1. Introduction One of the most challenging research areas regarding human emotions is the subject of “love”. The work “Homay and Homayun” by Kajuye Kermani (753-689) is a work that presents a rich picture of human experience by narrating a romantic bond in a context mixed with events. In contemporary times, new psychological theories can provide a new perspective for understanding the emotional and semantic layers of classical texts. One of these theories is the “Triangular theory of love” of Robert J. Sternberg, a prominent American psychologist. In 1987, he presented the “Triangular theory of love” in which love is described as a triangle whose three sides are formed by the components: “intimacy”, “passion” and “commitment”, and the combination of these sides explains the types of love (Sternberg, 1987: 123). Since psychological analysis of literary works can help clarify the semantic layers of the story, the present study seeks to investigate the system of “Homay and Homayun” based on Sternberg's ideas and to understand the extent to which the poem conforms to the theory and to show how and to what extent each of the three components of love is present in the narrative and ultimately what patterns of love are formed in the text. Such a view not only helps to reread one of the important texts of Persian literature from a psychological perspective, but also provides a basis for the connection between literature and psychology. Research method This research was done by descriptive-analytical method and based on library sources. Discussion Sternberg's "Triangular theory of love" analyzes the system of love and the relationships that govern it. The elements of the love triangle are: passion, intimacy, and commitment. Sternberg recognizes the passion component as arising from psycho-physiological arousal; the intimacy component also oversees the emotional aspects of relationships and refers to closeness and feelings of dependence in friendly relationships; and the commitment component is "the cognitive component of love and indicates a stable relationship" (Sternberg, 1986: 119). Sternberg identified eight types of love based on the combination of these three elements, which are: pretend, empathy, infatuation, emptiness, romantic, companionate, naive, and idealistic (Sternberg & Barnes, 1988: 69).Sternberg has identified eight types of love based on the combination of these three elements, which are: Non-love, liking, infatuated love, empty love, romantic love, companionate love, fatuous love, and consummate love (Sternberg & Barnes, 1988: 69). In the poem "Homay and Homayun", the main pillars of Sternberg's love triangle, namely passion, intimacy and commitment, have been appeared in various ways in the story. The primary component of the loves that are observed in the characters of the story (both main and secondary) is initially "passion". In the main story, namely the love of Homay and Homayun, over the course of events and time, the components of "intimacy" and "commitment" are also added to the relationship; however, in the secondary stories, only the components of "passion" and "commitment" exist and the component of "intimacy" is not observed. In the aforementioned poetic system, among the eight types of love in Sternberg's system, the loves of: Infatuated love, romantic, fatuous love and consummate love are observed, and there is no sign of the loves of: liking, non-love, empty and companionate. The type of love in the main story (the love of Homay and Homayun) is initially of the type of "infatuated love" and is actually an example of arousal by physical and bodily factors, but gradually, with the addition of the component of "intimacy", it becomes "romantic love", and finally, with the addition of the component of "commitment," it becomes " consummate love". The type of love in the sub-stories (Behzad and Azarafrouz's love; Fahrshah and Shamse Khavari's love; Farinoosh and Parizad's love) is initially of the type of "infatuated love" and then turns into "fatuous love. " Based on Sternberg's theory, through the narratives of the poem "Homay and Homayun", it can be seen that in Khajuye Kermani's ideological system, the components of "passion" and "commitment" are more prominent than the component of " Intimacy " for establishing emotional and romantic relationships. All the characters in the story, whether main or secondary, initially have great enthusiasm for reaching their beloved, and their love is based on statements focused on the body, and in the end, after overcoming obstacles and difficulties, the relationship ends in marriage with the dominance of the component of "commitment". 4- Conclusion The results of the research indicate that in the poet of "Homay and Homayun" by Kajuye Kermani, the romantic relationship in the main story, the story of Homay and Homayun, begins with the component of "passion" and develops with the components of "intimacy" and "commitment"; however, in the sub-stories, the story begins with "passion" and ends with "commitment" and the component of "intimacy" is not observed; this indicates the importance of the component of "commitment" and the desire for stability in romantic relationships from the perspective of Kajuye Kermani and in Iranian-Islamic culture. Among the components, the component of "passion" has a higher frequency in the aforementioned poet. Among the types of love, " infatuated ", "romantic", " fatuous " and " consummate " love are reflected, and "infatuated" is more prominent. There is no mention of other types of love, namely: "liking", "non-love", "empty", and "companionate". 5-References Abedi, Mahmoud (2007). "Khajuye Kermani in His Works". Persian Language and Literature Research Journal (Gohare Gooya). Vol. 1, No. 2, pp. 46-31. [In Persian] Ahmadi, Mona; Khatami, Ahmad (2018). “Reflection of some mythological elements in Homay and Homayun”. Quarterly Journal of Mystical and Mythological Literature. Q14. No. 53. pp. 13-40. [In Persian] Azizifar, Amir Abbas; Karamipour, Zeinab (2021). “Category and Analysis of Story-Making Themes in the Poetry of Homay and Homayun Khajuye Kermani.” Journal of Literary Textual Studies. Allameh Tabatabaei University. Volume 25. Issue 87. pp. 8-32. [In Persian] Balar, Morteza; Farzi, Hamid Reza; Amani, Rostam (2018). “The Process of Homay’s Individuation in the Poem of Homay and Homayun Based on Jung’s Individuation Theory”. Quarterly Journal of Mystical and Mythological Literature. Q14. No. 51. pp. 49-82. [In Persian] Brummer, Vincent (2016). The Pattern of Love, translated by Abdol Mohammad Delkhah. Tehran: Negahe Moaser. [In Persian] Fereydouni, Parvaneh; Razaqpour, Morteza (2022). “A Study of the Components of Lyric Literature in the Poetry of Homay and Homayun Khajuye Kermani.” Journal of Literary Textual Studies. Volume 26. Issue 94. pp. 261-292. [In Persian] Fisher, Helen (2017), Why Do We Fall in Love? (The Nature and Process of Romantic Love). Translated by Soheil Sommi, Tehran: Qoqnoos. [In Persian] Fromm, Eric (2023), The Art of Loving, translated by Pouri Soltani, Tehran: Morvarid. Ghadamyari, Karamali (2013), “The Function of Fantasy Elements in the Lyrical Poetry of Homay and Homayun”, Sistan and Baluchestan University’s Lyrical Literature Research Journal, Vol. 11, Issue 20, pp. 238-217.[In Persian] Gao, G (2001). "Intimacy passion and commitment in Chinese and us American romantic relationships". International journal of Intercultural relation. 25. 329-342. [In English] Heydari-Gojani, Ahmad; Zolfaghari, Mohsen; Heydari, Hassan; Omidali, Hojjatollah (2015). “Analysis of the Novel “Love and Other Things” Based on Sternberg’s Love Triangle”, Sistan and Baluchestan University’s Journal of Lyric Literature, 23 (44), 117-136. [In Persian] Khajuye Kermani, Abul-Ata Kamal-eddin Mahmoud (1969), Homay and Homayun, edited by Kamal Aini, Tehran: Iranian Cultural Foundation. [In Persian] Mahmoudi, Masoumeh (2019), “Sternberg’s Theory of Love and Comparative Criticism of Contemporary Fiction”, Journal of Interdisciplinary Literary Research, Vol. 3, pp. 291-260. [In Persian] Mirhashemi, Seyed Morteza (2003). "Shadow of the Sun (A Reference to Homay and Homayun)", Literature and Languages Magazine, 42 and 43, pp. 75-108. [In Persian] Moalemi, Mohammad Mehdi; Razaqpour, Morteza (2017). “A Look at the Correction of the Poems of Homay and Homayun with the Effort of Kamal Aini”. Journal of Poetry Studies (Bostane Adab) University of Shiraz. Vol. 9. Issue 2. Serial 32. pp. 182-167. [In Persian] Nafisi, Saeed (1928). The Palm of Poets: The Life and Selected Poems of Khajuye Kermani. Tehran: Khavar Press. Parsapour, Zahra (2015). “Investigating the Components of Love in the Heroes of Khosrow and Shirin Nezami’s Story Based on Sternberg’s Love Triangle Theory”. Collection of Papers of the 10th International Conference on the Promotion of Persian Language and Literature, University of Mohaghegh Ardabili, pp. 435-443. [In Persian] Rahmani, Maryam (2019). "Analysis of the Story of Love in Khosrow and Shirin Nezami Ganjavi Based on Sternberg's Love Triangle". Persian Language and Literature Journal, Vol. 16, No. 3, pp. 40-47. [In Persian] Safa, Zabihullah (1993). History of Iranian Literature. Vol. 3. Tehran: Ferdowsi. [In Persian] Soroush, Vajiheh; Amiri, Jahangir; Salimi, Ali; Marouf, Yahya (1401), "Emotional Relationships in the Two Novels "I Am Reviving" and "We Get Used to It" Based on Sternberg's Theory of the Pyramid of Love", Arabic Language and Literature Journal - Vol. 30, pp. 84-99. [In Persian] Sternberg, R. J. (1986). "A Triangular Theory of Love." Psychological Review. American Psychological Association, Inc. 93(2), 119-135. Doi: 10.1037/0033-295X.93.2.119. [In English] Sternberg, R. J. & Barnes, Michel. (1988). "Psychology of love", Yale University press, p. 69. [In English] Sternberg, Robert J. (2009), The Story of Love (A New Look at the Relationships of Men and Women), translated by Ali Asghar Bahrami, Tehran: Jawaneh Roshd. [In Persian] Sternberg, Robert J. (2005), Sternberg’s Triangle Love Scale, translated and compiled by Hamzeh Ganji, Tehran: Psychometric Publishing Center. [In Persian] Sternberg, Robert J. (2012), Love is a Story, translated by Farhad Shamloo, Tehran: Gol Shahr. [In Persian] نظریة «مثلث عشق» استرنبرگ، روانشناس مطرح آمریکایی، به تحلیل نظام عشق و روابط حاکم بر آن می‌پردازد و ضمن معرفی ارکان مثلث عشق (اشتیاق، صمیمت و تعهد)، انواع عشق- که از درهم‌آمیختگی این سه رکن، شکل می‌گیرد- را تبیین می‌کند و چهارچوبی کارآمد برای تحلیل روابط عاطفی در متون ادبی فراهم می‌آورد. داستان عاشقانة «همای و همایون» اثر خواجوی‌کرمانی، از نمونه‌های برجستة روایت‌پردازی عاشقانه در ادب فارسی است که در آن عشق نه تنها به عنوان نیروی محرک روایت، بلکه به مثابة بنیانی برای پیوند فردی و اجتماعی شخصیت‌ها جلوه‌گر می‌شود. جستار حاضر بر آنست تا با رویکرد توصیفی– تحلیلی به بررسی روابط مختلف شخصیت‌های داستان بانظر استرنبرگ بپردازد. برآیند پژوهش نشان‌خواهد داد که رابطة عاشقانه در داستان اصلی با «اشتیاق» آغاز می‌شود و با همراهی «صمیمیت» و «تعهد» به تکامل می‌رسد؛ اما در داستان‌های فرعی، ماجرا با «اشتیاق» آغاز و با «تعهد» تمام می‌شود.به‌طورکلی در میان مؤلفه‌ها، مؤلفه «اشتیاق» بسامد بیشتری دارد. از میان انواع عشق نیز، عشق از نوع «شیفتگی»، «رمانتیک»، «کذایی»، «ساده‌لوحانه» و «آرمانی» بازتاب داشته و دراین میان، «شیفتگی» بسامد بیشتری دارد. داستان «همای و همایون» را می‌توان نمونه‌ای کلاسیک از تجلی عشق کامل در سنت ادبی فارسی دانست که با نظریة استرنبرگ همپوشانی معناداری دارد.

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دانشگاه سیستان و بلوچستان پژوهشنامه ادب غنایی 2008-5737 24 46 2026 03 21 A Psychoanalytic Analysis of Nima Yooshij's Poem Afsaneh Based on Jung's Theory of the Unconscious تحلیل روان‌شناسانه منظومه «افسانه» نیما یوشیج بر اساس نظریه ضمیر ناخودآگاه یونگ 209 228 9189 10.22111/jllr.2025.50464.3301 FA رضا قنبری عبدالملکی استادیار گروه زبان و ادبیات فارسی، دانشگاه دامغان، دامغان، ایران. Journal Article 2024 12 09 Nima Yooshij’s poem Afsaneh, as one of the early examples of transformation in modern Persian poetry, employs a symbolic and psychological structure to express the inner experiences of the human psyche. This study, drawing on Carl Gustav Jung’s analytical psychology, explores the representation of the hero’s psychological journey and inner transformation in the poem. The central research question examines how Jungian archetypes-such as the Hero and the Anima-reflect the stages of the hero’s psychological journey and contribute to his path toward self-awareness. The research method is descriptive-analytical, with a focus on the concepts of the collective unconscious and Jungian symbolism. Findings indicate that the hero, through encounters with emotional and social challenges, moves toward the integration of opposing aspects of the psyche. Along this path, Jungian archetypes serve as guiding forces, and the poem’s structure mirrors the phases of the hero’s inner journey. By analyzing Afsaneh through the lens of Jungian theory, this study offers a fresh understanding of the psychological dimensions in the works of Nima Yooshij and highlights their role in articulating the evolution of modern Persian poetry. Extended abstract 1. Introduction Nima Yooshij’s poem Afsaneh is one of the most prominent examples of modern Persian lyrical poetry. By exploring themes such as the search for meaning, self-discovery, and confrontation with the unconscious, it provides a rich ground for psychological analysis. This article employs Carl Gustav Jung’s analytical psychology to examine the structure and meaning of the poem, aiming to reveal how archetypes such as the Hero, Anima, and Shadow are deployed in the narrative to represent the psychological transformations of the main character. The protagonist of the poem, portrayed as an introverted hero, undergoes an identity crisis, experiences a sense of alienation, and longs for salvation. His dialogue with Afsaneh—an embodiment of the Anima archetype and the feminine force of the unconscious—constitutes a confrontation with the repressed aspects of the psyche and marks the beginning of the individuation process. According to Jung, this process signifies the journey from psychic fragmentation and dissociation toward integration and self-realization. In this poem, symbolic oppositions such as reason versus emotion, despair versus hope, and consciousness versus the unconscious create the conditions for the protagonist's inner transformation. The main research questions are as follows: How are the Hero and Anima archetypes represented in the poem? What roles do the elements of the collective unconscious, the Shadow, and the Anima play in the semantic structure of the poem? And how does the process of individuation unfold in the narrative? The study hypothesizes that the psychological structure of the protagonist is depicted through his interactions with these archetypes and his internal and social struggles, and that the symbolic structure of the poem is fundamentally shaped by these concepts. Ultimately, this study demonstrates that Afsaneh is not only a reflection of the poet’s individual experience but also, through its symbolic language and shared archetypes, an expression of the collective unconscious of Iranian society during a historical period of transition. This analysis offers a novel interpretive approach to Nima Yooshij’s poetry and opens new horizons for psychoanalytic criticism of contemporary Persian literature. 2. Research Method This study employs a qualitative, text-based methodology grounded in the content analysis of Nima Yooshij’s poem Afsaneh within the conceptual framework of Carl Gustav Jung’s analytical psychology. Fundamental concepts such as the collective unconscious, archetypes, the individuation process, Anima, Animus, and the Shadow serve as the theoretical foundation for the analysis. Based on these concepts, the poem’s symbolic signs, themes, and structures are identified and coded. The analysis primarily focuses on the characterization of the narrator/hero and his psychological experiences through the lens of the individuation model, as well as the depiction of the beloved figure (Afsaneh) as a manifestation of the Anima archetype. 3. Discussion In this article, Nima Yooshij’s long poem Afsaneh is analyzed through the lens of Carl Gustav Jung’s analytical psychology, with a focus on archetypal concepts. The analysis proceeds in three stages: first, Jung’s core theoretical concepts—such as the collective unconscious, archetypes, the Shadow, the Anima, and the individuation process—are introduced and explained. Second, these concepts are identified within the text of the poem. Finally, the narrative structure, character relationships, and their psychological development are examined within the framework of individuation. The poem’s narrator, presented as a failed and introverted hero, is entangled in deep psychological tensions and experiences a profound sense of alienation from both himself and the external world. This figure embodies the Jungian “Shadow”—the unconscious part of both individual and collective psyche that harbors repressed and denied traits. The narrator’s dialogue with Afsaneh can be interpreted as an attempt to recognize and confront these disowned aspects of the self. The character Afsaneh, marked by traits such as mystery, compassion, contemplative silence, and emotional depth, symbolizes the archetype of the Anima in Jungian psychology—that is, the feminine aspect within the male unconscious. The Anima serves both as a mediator between consciousness and the unconscious and as an inner guide on the path toward individuation. In the poem, Afsaneh simultaneously represents truth, beauty, and suffering—an element that urges the narrator toward inner exploration and psychological journeying. The overall narrative of Afsaneh can be seen as an equivalent of the mythological hero’s journey: an inner quest from suffering and doubt toward awareness, reconciliation of opposites, and discovery of the true self. According to Jung’s theory, this journey reflects the psyche’s effort to balance opposing internal forces and achieve the higher Self. Thus, the poem Afsaneh is not only a reflection of the modern individual’s psychological crisis, but also a symbolic and archetypal roadmap for reclaiming psychic unity and meaning in the modern world. 4. Conclusion This study, aimed at analyzing Jungian archetypes in Nima Yooshij’s poem Afsaneh, demonstrates that key concepts from Carl Gustav Jung’s analytical psychology—particularly archetypes, the collective unconscious, the Shadow, and the process of individuation—are deeply embedded in the poem’s narrative and semantic structure. In response to the first research question, the Hero archetype appears in the form of a solitary and vulnerable figure who grapples with intense inner conflict. Unlike the active heroes of classical mythology, this hero is portrayed as passive; yet, through his dialogue with the feminine character Afsaneh—a manifestation of the unconscious Anima—he is confronted with his psychological wounds. As the Anima, Afsaneh plays the role of guide and comforter, leading the hero toward introspection and self-confrontation. Regarding the second question, concepts such as the collective unconscious and the Shadow are prominently reflected in the poem. The hero’s psychological shadows manifest as emotional suffering, despair, and loneliness. His conversation with Afsaneh can be interpreted as a symbolic journey into the unconscious and an encounter with the darker aspects of the psyche. These elements elevate Afsaneh beyond a mere romantic narrative, transforming it into an inner, psychological, and existential journey. As for the third question, the process of individuation begins with confusion and disorientation, during which the hero faces his inner fears and unrest. Although the journey appears unfinished, there are signs of awakening and the onset of psychological transformation in the protagonist. In sum, Afsaneh can be interpreted as a symbolic narrative of the human inner quest for self-knowledge—a journey that moves through pain, duality, and the longing for wholeness, ultimately progressing toward psychic integration. 5. References Abbasi Sardari, S., & Kardgar, Y. (2023). An analysis of the lyric characteristics in Nima Yooshij's Afsaneh. Lyric Literature Research Journal, 21(40), 135–152. [in Persian] Akrami, M., & Dehghani, M. (2015). A critique and analysis of the influence of Musset’s Les Nuits on Nima Yooshij's Afsaneh. Comparative Literature Research Quarterly, 3(5), 27–53. [in Persian] Al-Buyeh Langroudi, A. (2010). From Yush to Jaikur: A study of Afsaneh by Nima Yooshij and Fi Al-Suq Al-Qadeem by Badr Shakir Al-Sayyab. Comparative Literature Quarterly, 1(2), 1–16. [in Persian] Gheybipour Haji Var, N., Jahannakht Lili, O., & Rajabi, F. (2022). Surrealistic elements in Nima Yooshij’s Afsaneh and Itha Kunnta Na'iman Fi Markab Nuh. Comparative Literature Research Journal, 12(48), 85–105. [in Persian] Gholamhossein Zadeh, G., Taheri, G., & Karimi, F. (2010). Narratology of signs in Nima’s Afsaneh. Persian Literature Textology, 2(2), 109–128. [in Persian] Hillman, J. (1979). The myth of analysis: Three essays in archetypal psychology. Harper & Row. Jung, C. G. (1959). The archetypes and the collective unconscious (R. F. C. Hull, Trans.). Princeton University Press. Jung, C. G. (1964). Man and his symbols. Aldus Books. Jung, C. G. (1969). The archetypes and the collective unconscious (2nd ed., R. F. C. Hull, Trans.). Princeton University Press. Jung, C. G. (1973). Psychological aspects of the persona. In Collected works of C. G. Jung (Vol. 7, pp. 147–159). Princeton University Press. Neumann, E. (1954). The origins and history of consciousness (R. F. C. Hull, Trans.). Princeton University Press. Nowdehi, K., & Neshayi, M. R. (2018). Non-verbal communication as a stylistic feature in Nima Yooshij’s Afsaneh. Persian Language and Literature Specialized Quarterly, 14(15), 89–108. [in Persian] Shamdasani, S. (2003). Jung and the making of modern psychology: The dream of a science. Cambridge University Press. Taher Ahmad, A. (2015). The theory of broken verse from Victor Hugo to Nima Yooshij. Comparative Literature Quarterly (Academy of Persian Language and Literature), 6(11), 36–65. [in Persian] Tayefi, Sh., Ramazani, M., & Ghorbanpour, S. (2017). A reflection on Nima's Afsaneh and Shahriar's Heydar Babaya Salam from the perspective of romanticism. Literary History Quarterly, 80, 105–129. [in Persian] Yushij, N. (2012). Complete collection of Nima Yushij's poems. Negah. [in Persian] Zabihnia Omran, A. (2012). The influence of romanticism in Hugo, Musset, and Lamartine on Nima's Afsaneh. Lyric Literature Research Journal, 10(19), 55–76. [in Persian] شعر «افسانه» از نیما یوشیج، به‌عنوان یکی از نمونه‌های آغازین تحول در شعر معاصر فارسی، با ساختاری نمادین و روان‌شناختی به بیان تجربه‌های درونی انسان می‌پردازد. این پژوهش با استفاده از نظریه روان‌شناسی تحلیلی کارل گوستاو یونگ، مسأله بازنمایی سفر روانی قهرمان و تحول درونی او را در این شعر بررسی می‌کند. پرسش اصلی تحقیق این است که چگونه کهن‌الگوهای یونگی همچون قهرمان و آنیما در شعر «افسانه» به بازتاب مراحل سفر روانی قهرمان و دستیابی به خودشناسی کمک می‌کنند. روش پژوهش توصیفی-تحلیلی است و با تمرکز بر مفاهیم ناخودآگاه جمعی و نمادپردازی یونگی انجام شده است. یافته‌های پژوهش نشان می‌دهند که قهرمان شعر، از طریق مواجهه با چالش‌های عاطفی و اجتماعی، به سوی ادغام وجوه متضاد روان خود حرکت می‌کند. در این مسیر، کهن‌الگوهای یونگی نقش راهنما را ایفا کرده و ساختار شعر به عنوان بازتابی از مراحل سفر درونی قهرمان عمل می‌کند. این پژوهش با تمرکز بر تحلیل شعر «افسانه» بر مبنای نظریه یونگ، سعی دارد درک تازه‌ای از کاربست مؤلفه‌های روان‌شناختی در نقد آثار نیما یوشیج ارائه دهد و سهم آن‌ها را در تبیین تحولات شعر معاصر فارسی نشان دهد.

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دانشگاه سیستان و بلوچستان پژوهشنامه ادب غنایی 2008-5737 24 46 2026 03 21 Investigating the power relationships in Weiss and Ramin story according to Michel Foucalt's view تحلیل مناسبات قدرت در منظومه‌ی ویس و رامین با تکیه بر آرای میشل فوکو 229 246 9476 10.22111/jllr.2025.52098.3345 FA محمدحسین نیکدار اصل دانشیار گروه زبان و ادبیات فارسی دانشگاه یاسوج(نویسنده مسئول) حسین باقری دانشجوی، دکتری گروه زبان و ادبیات فارسی، دانشگاه یاسوج Journal Article 2025 05 21 In Foucault's intellectual system, power is considered a network of relations that is constantly expanding and spreading throughout all social domains. The present study, using the method of qualitative content analysis based on documents and relying on Michel Foucault's view on the subject of power, seeks to find manifestations and examples of power in the personal relationships of the characters in the Vis and Ramin narrative by Fakhruddin As'ad Gurgani. In this analysis, the central components related to the discussion are structured as follows: strategy of power, manifestations of the exercise and emergence of power, the relationship of power with freedom, resistance and transgression, institutions and guiding forces with the stabilizing force of power. Based on the results of the discussion, the mentioned narrative has a special correspondence and affinity with Foucault's ideas. It was also argued how the characters of this narrative, regardless of their hierarchical position, are in a broad network in the path of exercising power; in such a way that power can be seen as a guiding component in all levels of people's behavior and speech in this story. Resistance and transgression strategically display specific ways of responses and reactions, Extended abstract 1. Introduction Michel Foucault (1926-1984) rejects the hierarchical understanding of the concept of power and believes that power is not a simple concept communicated from top to bottom and in a commanding manner, but rather flows in a network of intricate relationships and different layers of social and linguistic interactions. (Deleuze, 2010: 59) Understanding power in Foucault’s thought requires understanding the relationship between the exercise of power and the freedom of individuals, the strategy of power and the possibility of transgression, and the relationship between power and resistance. Each of these concepts sheds light on some of the dark corners of individual action and reaction in the social arena. This study, stating that the evolution in recent theories has been able to expand the understanding and recognition of individuals in social and human spheres, considers it necessary to benefit from the capacity created in literary studies to revive the precious heritage of ancient Persian literature. One of the classic and thought-provoking works of Persian literature is the collection of poems Weiss and Ramin by Fakhreddin Asad Gorgani. In this study, a different reading and a new understanding of the intratextual relationships and relations of the Weiss and Ramin poetry system are the main goals of the authors. The main issue of this research is the way in which power is distributed and expanded in the context of social relations and the examination of its function in the relationships between individuals in the studied society. Therefore, it addresses the question of how the methods of exercising power and reacting to it are displayed at different levels of society and how the strategic strategy of individuals in resisting or displaying their degrees of enjoyment of freedom is manifested? .2. Research methodology This research was conducted using the qualitative content analysis method of documents. The data collection tool in this research is in the form of documents and library study. In this regard, after explaining Michel Foucault's theoretical foundations regarding power and formulating its main components, the relationship between the characters of the study subject was analyzed using the content analysis method. 3.Discussion From the beginning of the story of Weiss and Ramin, the romantic and power-based challenge in the story begins with Shah Mobed's request. Although Shah Mobed has the highest political and social position, fulfilling his request can only be interpreted as a possibility, because Shahro can resist it. Shahro wants to emerge victorious from this game by delaying his response, suspecting her infertility. The tactic that Shah Mobed and Shahro use in this conversation is a strategy of struggle in which both try to win this game by advancing their own desires. In this story, although the story takes a specific direction with Shah Mobed's request and Shahro's response, it expands and takes on different dimensions through the social life of the two. The game is displayed at different levels, and the entry of each actor changes the balance of power. In this arena, power is not simply a one-sided force from top to bottom. In this approach, power appears as a relational matter. Paying attention to the field of resistances against power helps us to better understand power relations. In a part of the story, with the plot of Ramin's love, Dayeh's mediation, and Weiss's stance, we see that the internal conflict of individuals and the conflict of will of the actors emerge. In this ups and downs dialogue, the main element of the story revolves around the exercise of force and power, with awareness of the possibility of transgression and resistance. The trinity of Ramin, Dayeh, and Weiss, who openly and freely play dice, and each thinks of his own victory in some way or trick, plays a role in this context. In this poem, Weiss is a symbol of defiance and rebellion. He never gives in to fear of threats and intimidation. He is not afraid of social norms and structures, nor of stigma and disgrace. His behavior is full of rebellion and resistance. Culture and its constituent elements are sometimes used as a speeding machine to achieve the goal, sometimes as an obstacle to slow down the opponent. For example, after a campaign, Shah Mobad first turns to dialogue with his opponent. He tries to soften Shahro's heart with tempting words and promises, and on the other hand, with the help of cultural norms and customs, he also makes him ashamed of his actions. The social structure and context are considered one of the solid and practical bases in power relations in this system. Accordingly, before any action, even the king tries to justify accepting his action. In the debates and challenges in this text, one of the parties always refers the other to popular judgments about speech and action in order to convince him; or by raising the fear of God and the Hereafter, he tries to turn the rule to his advantage. Finally, Ramin's rebellion and the force of time bring an end to Omar Zard and Shah Mobad, so that fate can disrupt power relations and stamp them with instability. Conclusion This study attempts to study and analyze the internal relationships of the characters in this story from the perspective of power relations, relying on Michel Foucault’s theory of power relations. Since Weiss and Ramin presents a romantic story of an ancient Persian royal family, according to the traditional and common view of government and the position of the king, it was expected that power would be concentrated in the hands of the king and that others would have no choice but to accept affairs and orders. However, as Foucault believes, power is deeply rooted in the network of society and can be observed in all areas of society and human relations. In this story, power flows in a plural and dispersed form in all classes of society, because all individuals in the field of power try to insist on their positions in order to confirm their possession of power. The main characters in this poem always behave on the axis of power relations, openly or secretly. 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New York: Pantheon Books. پژوهش حاضر به توصیف و تحلیل نمودها و مصادیق قدرت در روابط شخصیت‌های منظومۀ ویس و رامین، اثر فخرالدین اسعد گرگانی می‌پردازد. مسئلۀ اصلی این تحقیق، تحلیل و واکاوی این پرسش است که نحوۀ توزیع قدرت در بستر مناسبات اجتماعی و روابط میان افراد جامعه به چه شکل بوده و استراتژی راهبردی افراد در مقاومت یا نمایش درجات بهره‌مندی از آزادی چگونه نمود یافته است. پژوهش پیش رو به شیو‌ۀ تحلیل کیفی محتوا بر پایه اسناد، با تکیه بر مؤلفه‌های محوری دیدگاه میشل فوکو در موضوع قدرت، بدین شرح صورت‌بندی شده است: استراتژی قدرت، نمودهای اعمال و بروز قدرت، نسبت قدرت با آزادی، مقاومت و تخطی، نهادها و نیروهای جهت‌دهنده یا تثبیت‌کنندۀ قدرت. براساس نتایج بحث، استدلال شد قدرت در این منظومه متمرکز نبوده و به‌صورت پراکنده در تمام سطوح جامعه جریان دارد. چنان‌که نشان داده شد چطور شخصیت‌های این منظومه فارغ از جایگاه سلسله‌مراتبی خود، در شبکه‌ای گسترده در مسیر اعمال قدرت هستند. به گونه‌ای که می‌توان قدرت را به‌عنوان مؤلفه‌ای جهت‌بخش، در تمام سطوح رفتار و گفتار افراد این داستان، شاهد بود. مقاومت و تخطی به شکل راهبردی شیوه‌های خاصی از پاسخ‌ها و واکنش‌ها را به نمایش درآورده که خود حکایت‌گر درجات آزادی افراد در برابر قدرت می‌باشد.

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