طبقه‌بندی و تحلیل بن‌مایۀ "آغاز عشق" در منظومه‌های عاشقانۀ فارسی

     One of the motives of the story in the love poems is the beginning of the love of its lovers. In these poems, the author uses his art to describe the first spark of love making as a beautiful event. This descriptive-analytical research answers the questions of how the beginning of love can be classified in Persian love poems and what role does each of these classifications and subspecies play in the narrative? According to the results, the beginning of love occurs with two actions "seeing" and "hearing" and in different types, in the course of events. Seeing a lover directly, seeing in a dream and seeing a picture of him are the most popular types of beginning love through seeing. The beginning of love by seeing the picture has been used only between Iranian and Arab lovers. Hearing the description of the beloved or hearing his voice is another type of beginning of love and has been common among all nations except the Arabs. The role of this theme is that the narrative structure of the love system will not be formed until the first spark of love is struck and love begins
 

Introduction

Love poetry is one of the subspecies of lyrical literature with the theme of love, which deals with an objective and accurate description of the connections and emotional feelings between two people called "lover and lover". Love poems have narrative form and their structure is very similar. This structure can be found in several ways. Including with the help of their motives. Love stories have different motives. One of these motives is the beginning of love. In these texts, the author uses his art to describe the first spark of love beginning as a beautiful and memorable event. This research answers the questions of how the beginning of love can be classified in Persian love poems and what is the role of each of these classifications and subspecies in the narrative.
Research method
This article is a descriptive-analytical method based on the collection of information in a library method. For this purpose, the book "One Hundred Persian Love Poems" (Zolfaghari, 2015) is the basis of the work. First, the "beginning of love" motive has been identified in this
                                   
hundred poems and the information obtained from it has been encoded in Table 1 Then its descriptive statistics are extracted and by putting similar stories together, the narrative structure and story role of this motive are explained. The similarities of each story are omitted due to the same structure. In order to clarify the evolution of the motive mentioned structure, in some cases, pre-Islamic texts have also been referred to.

Discussion

The beginning situation in love poems is the first spark of love that is struck in various ways. "So it is from this initial spark that affections and knots begin, and the hero (lover) seeks to resolve the situation." (Zolfaghari, 1394: 56) The role of this motive is important  because until the first spark of love is not struck and love begins, the narrative actions no longer occur and the plot does not expand, thus the narrative structure of the long romantic poem will not be formed. This is if other romantic motives such as "love rival" or "correspondence" and ... their presence enriches the story, but their absence does not prevent the development of the love story.
Each of the Persian-speaking poets, according to their taste, narrative conditions, time requirements, etc., has chosen a method for forming the first meeting of lovers. Therefore, the networking system of the beginning of love is manifested in two ways: "seeing" and "hearing". The most common form of it occurs in the form of a direct meeting with the beloved, but wherever the author is helpless in showing the beloved and the appearance of the first spark of love, he has solved his problem in another way; Either the lover has seen the image of the beloved or he has imagined him in a dream; Sometimes hearing the description of the beloved and in a few cases his voice is the beginning of love.
 Conclusion
One of the most common subgenres of lyrical literature is long romantic poems; Examination of these texts shows that they all had a more or less the same structure in the use of romantic motives. These motives are present in the story in regular and sometimes irregular sequences and form the narrative structure of the long romantic poem; In other words, in these texts, narrative is a tool to express a series of motives and a series of events with their structural sequence This study examines the basis of "the beginning of love" in one hundred Persian love poems and aims to analyze the initial situation or the beginning of a love event and identify its cracks and also to show their role in the development of narration. The role of this motive is that until the first spark of love is struck and love begins, the narrative actions no longer occur and the plot does not expand, thus the narrative structure of the love system is not formed. The initial state in love poems is the first spark of love that is created in various ways. So, it is from this initial spark that the affections and knots have started and the lover has tried to solve the situation or the carpenter. A study of one hundred poems in Persian literature has shown that the beginning of love has occurred in two ways: "seeing" and "hearing"; The "beginning of love by seeing" networking system has three subtypes (seeing the beloved directly, seeing the image of the beloved, seeing the beloved in a dream), each of which also had smaller subgroups. The beginning of love with "hearing" has also been used in two subtypes (hearing the description of the beloved and hearing the voice of the beloved).
 Among the types of beginnings, the beginning of love includes seeing 64%, seeing the image 7%, seeing in a dream 15% and hearing a description 14%. The beginning of love was seen in all periods and lands studied, especially in Iran, but the peak of its use was in the eleventh and twelfth centuries, due to the increase in love poems due to the expansion of cultural and social relations between Iran and the subcontinent. Falling in love with seeing the picture was only for Iranian and Arab lovers. Perhaps the reason is that women are veiled in these lands because of their religion. In Indian poetry, love is never made by seeing the image of the beloved; This is because in most of the poems, Indian lovers were both from India and there was no need to paint a picture of their lover, while girls from India, China and Greece had more freedom to participate in society. Among the Arabs, the beginning of love is more than the kind of childhood and school meetings, and no love begins with hearing the description of the lover, which is due to the tribal life and kinship of the lovers and their growing up together..
 
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