سخنوری معشوق در غزل‌های پیروان سه‌گانۀ موفق سعدی؛ همام تبریزی، عماد فقیه کرمانی و ناصر بخارایی

Saadi Shirazi is a ghazal poet of the 7th century, who plays a significant role in the evolution of the ghazal. The poet is the narrator of the feelings and words of the lover through the language of the lover. Homam Tabrizi, Imad Faqih Kermani and Nasser Bokharaei are three very influential poets from Saadi and originated from three different regions with different dialects. The reason for choosing these poets was the influence of Saadi's style and the extent of their success in this influence. The main problem of the research is to find answers to these questions, how are the words of the beloved reflected in the sonnets of the three mentioned poets? What are the differences and similarities of their expressions in quoting the lover's words? Based on this, by using the analytical-descriptive method and using library resources, the words of beloved have been classified and analyzed. The results of the investigation revealed that the beloved of the lyricist of the ghazal speaks with a sad language and body language, and sometimes he talks with the poet through words or writing a letter, sometimes the poet expresses his words simply, and sometimes he reprimands his words. The main audience of the lover's speech is the lover, and sometimes earthly and heavenly elements are addressed. A lover is a seeker and a lover wants separation. Sometimes the lover agrees with the beloved and sometimes disagrees. In order to honor his beloved, the poet embellishes his words with imaginary accessories.
extended abstract
Introduction
One of the audience in the text created by the creator of the poem is the lover of the poet who addresses him in the romantic audience and talks to him with the language of the present or the heart. In fact, the poet speaks to himself, and the speaker and the audience are the same: "When a writer or a poet writes a message in the absence of an audience or receiver, he is actually having a conversation with an imaginary audience, even in the most abstract lyrical poems that consider the audience as the producer of the work. The audience can be considered a writer or a poet who talks to himself" (Poornamdarian, 2017: 12). When an eloquent speaker wants to express something, he takes into account the situation of the audience and the requirements of time and place, and based on this, sometimes he narrates the matter in detail, sometimes briefly, and sometimes he narrates it moderately, that is, neither briefly nor at length (Safa). , 1369: 43). The condition for the acceptance of the speech is to influence the soul: "What the poem evokes in the soul of the audience, of course, may be a feeling of beauty or ugliness, a strong emotion or a continuous pain, but the main condition for the acceptance of the speech is right here, because a poem benefits from the acceptance of the mind. to affect more people (Zarinkoob, 1371: 61). Saadi, a ghazal poet of the 7th century, who, in addition to instructive poems, is considered one of the great architects of this poetic form in the field of ghazal. His passionate sonnets have set the example of many poets after him. In addition to the mystical and instructive sonnets, he has passionate love sonnets in which the presence of a human lover is considered one of its special features (Mohved, 2013: 97). The love poems of the incident that reached its peak in the 10th century of Hijri have their roots in the poems of Saadi Shirazi, Hassan Dehlavi and Amir Khosro Dehlavi (Fatouhi, 2015: 53). Poetry has no more than one subject, and that is love for human beauty and the states of this type of love (Ibid.: 142). Saadi is a Muslim master of romantic ghazals and hadith of love. Some poets have followed his style of lyric writing. Among those ghazal writers, three people have been chosen for this research, which are: Hammam Tabrizi, Saadi's contemporary and one of his followers in ghazal writing. The number of his sonnets is 220. Hafez sometimes paid attention to him. In his time, he was considered as one of the scholars and mystics (Ayawzi, 1370: 64-31). Emad Faqih Kermani is one of the mystic lyricists of the 8th century. The number of his sonnets is 703. In Ghazal, he paid attention to the works of Saadi and Anuri and mixed the Iraqi and Khorasani styles and put romantic and Sufi content together. Hafez is his full-fledged representative in the style of lyric writing (Shamisa, 1370: 123). Naser Bukharai, 1353 is one of the lyricists of the 8th century. The number of his sonnets is 639. He has been paying attention to Saadi since ancient times. Asceticism and mixing of romantic and mystical lyrics is one of the distinctive features of his lyrics. Hafez commented on his poetry (ibid., 1370: 128). The criterion of the literary and artistic value of poetry is the form of imagination and the science of expression. Ghazal's lover uses this speech tool with various speech verbs in line with the effect of his words on his lover or others. In this research, we intend to compare the speech of the beloved in three poets following Saadi, namely Hammam Tabrizi, Emad Faqih Kermani and Nasser Bokharai.
Research methodology
This research is descriptive-analytical. Poetic evidences have been extracted from the sonnets of poets Pirou Saadi, Hammam Tabrizi, Emad Faqih Kermani, Nasser Bokharai and they have been categorized and analyzed based on the dimensions of the manner of narrating the lover's speech, the addressee of the beloved's speech, the audience and the effect of the speech, Surkhayal. Each of these dimensions has been separated to show how the lover's words are reflected in the lyrics of the mentioned poets and what are the similarities and differences of their words in narrating the lover's words?
Discusstion
Lyrical literature expresses the pure feelings and emotions of the poet. Ghazal is the most stable and beautiful form of poetry that shows these feelings. Saadi, the poet of the 7th century, brought the romantic sonnet to perfection. Hammam Tabrizi, Imad Faqih Kermani, Naser Bokharai are among the successful followers of this famous poet. In this research, the reflection of the lover's words in the sonnets of the three mentioned poets and the differences and similarities of their poetic words in the narration of the lover's words have been discussed.. Beloved's words are separated based on the way the beloved's words are conveyed, the addressee of the beloved's words, the audience and the way the words affect the images. The beloved of the lyricist of the poem is often silent and sometimes communicates with the lover through gestures and gestures and body language or correspondence. Emad Faqih Kermani's lover is a letter writer. The variety of speech verbs in Nasser Bukharai's words from Beloved is more than two other poets. The main audience of the lover's speech is the lover and sometimes heavenly and earthly elements. The lover wants separation and the lover wants connection, so the lover's words sometimes have an effect on the lover and sometimes they have no effect. A lover decorates his words with pictures to honor his beloved.
Conclusion
Beloved is one of the audience in the text created by the poet of Ghazal Sarai Ashagh, the poet talks to him in the language of the heart or the language of the present in romantic dialogues. Saadi Shirazi is a master of passionate romantic lyrics. Hammam Tabrizi, Emad Faqih Kermani and Nasser Bokharai are among the three followers of this experienced poet's style of lyric writing. The roots of the 10th century Hijri school of occurrence can be found in Saadi's ghazals. The three poets following Saadi have sometimes addressed the love of human beauty and the expressions and words of the beloved in their sonnets with frankness, simplicity and realistic expression. The lover of Ghazal is often silent and speaks with concise language and hints. Sadiq's narrator has sometimes given a realistic color to the sonnet verses with his simple and intimate language, and sometimes, as a narrator of love, he has expanded and enriched the words of his beloved. The way of conveying the lover's speech is based on speech verbs, and sometimes the lover's behavior replaces his speech, and sometimes he speaks with the language of gestures and giggles. Emad Kermani's lover is a letter writer, and sometimes he inquires about Emad Kermani's status with pen caresses (written quotation, letter writing). The variety of speech verbs in Nasser Bukharai's words from Beloved is more than two other poets. The main audience of the lover's words is the lover. The rival and doctor is one of the audience members of Nasser Bukharai's lover. "Pir" is also one of the listeners of Hammam Tabrizi's beloved conversation. The elements of earth and sky (flowers and moon) are among the audience of Emad Kermani, and Pike or Bad Saba is also among the audience of Ghazal Nasser Bokharai and Hammam Tabrizi. One of the conditions for the acceptance of poetry is the effect on the soul, and the speaker's empathy with the audience, the lover's words sometimes have an effect on the main lover, and sometimes his words have no effect, because the lover and the beloved are opposite in their expressions and speech, and love is born of these differences. A lover cannot be patient or reveal the secret of his drunkenness and love. From another point of view, the audience of the lover sometimes sympathizes with him and agrees with him, like a rival or Bad Saba, and sometimes he is unsympathetic because the lover is a seeker and the lover wants separation, the lover is the manifestation of cuteness and the lover is the manifestation of need. The followers of Saadi's Trilogy sometimes turn to spoken poems and sometimes they have artistically embellished and embellished the lover's speech with imaginary tools such as paintings to make the lover's speech more beautiful.
 
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