Analysis And Criticism Of Romances By Qawamuddin Mohammad Yazdi

In the scope of Persian literature, there has always been talk of love, and poets' views, especially on the beloved, cuteness and need in a romantic relationship, as far as we can say, love and talking about it form the main part and the body of lyrical literature. One of the surviving manuscripts from the Timurid period is Qavam al-Din Muhammad Saini Yazdi's Kolyat, which contains 359 sonnets description love and the conditions of love. The findings of the research, which was carried out in a descriptive- analytical way based on library studies and the method of document analysis based on the corrected manuscript in Elham Moinian's doctoral thesis, show that Qawamuddin Muhammad in the tradition of ghazal writing in the old style, including the style of Hafez and it is Saadi. The subject of his lyrics and the themes of interests in these poems are mainly about the failure of love, the qualities of the beloved and the struggle with Zahdaryai. The highlight of these sonnets is the didactic tone and an example of praiseworthy sonnets, which makes it important to investigate this poet's sonnets.

Introduction

It is Qavam al-Din Muhammad Sayeni (Yazdi) Kolliat, which is one of the manuscripts left from the Timurid era. Qawam al-Din Muhammad Saini Yazdi is one of the poets of the 9th century (AD 830 A.H.), whose general collection includes ghazals, odes, glosses, manuscripts, and a number of letters. Qavam al-Din Saini is one of the poets of the Timurid era, whose general edition has not been corrected so far. According to the base version, the number of verses left by Qawamuddin Muhammad is 3966, of which 359 are his sonnets. which includes various themes of love, opposition to hypocritical asceticism, praising the beloved and lyrical themes. This version, which has not been corrected so far and has been embellished, is remarkable in terms of its lyrical themes and the content of romantic themes. The reason for choosing the theme of love in Qavamuddin Muhammad Saini Yazdi's sonnets among other emotional fields is the importance and prominence of this theme in Qavamuddin's sonnets as part of the written heritage of Persian literature. The description of love in Qawamuddin Muhammad's poetry is not only a clichéd description of the lover's appearances and beauties, but in a multi-layered expression and passing beyond the appearances, it focuses on the essence of good qualities and moral virtues of man. The present article, while introducing the version of Qavamuddin Muhammad Saini's (Yazdi) generalizations, which has not been published so far, aims to address the issue of the poet's view on the category of love and the description of the beloved.

Research Method

In this thesis, according to the subject and scope of the research, which is descriptive-analytical, we have used the sand analysis method based on library studies and referring to reliable scientific databases. The statistical population of the research is the generality of the manuscript of Qawamuddin Mohammad Saini (Yazdi), which has not been published so far. It should be noted that the corrected version of Qavamuddin Muhammad Saini's Generalities was first corrected in the Persian language and literature department of the Islamic Azad University of Najafabad branch in Elham Moinian's doctoral thesis under the guidance of Dr. Mohammad Chatraei Azizabadi. The way of referring verses in this article has been corrected in general terms. The analysis of the samples in this comparison is based on the statistical method among 359sonnets in Qawamuddin's collections, which will be analyzed in a systematic way by presenting charts and tables.

Discussion

The first characteristic of love and romance in Qawam's sonnets, and in fact the most repetitive feature of the beloved, which is mentioned in many of Qawam's sonnets, is the description of the lover's face, his movements, and his outward appearance in the form of stereotypes according to the ancients. The appearance and repetition of the lover is presented in the Persian language poetry tradition. The eyes, eyebrows, eyelashes, eyelashes, hairline, lips, facial hair, cedar height, etc., and other moral characteristics such as unfaithfulness, stubbornness, hard-heartedness, being hidden in the veil, nameless, in fact, "a lover who does not give courage to lovers." It does not teach stability to fighters, nor does it have the power of creativity for artists, nor does it benefit from depth and breadth of mind for idealists" (Barzegar Khaleghi, 2005: 148). A stereotyped image of a lover is very common in Persian poetry. "Lyric poetry is the expression of the emotional reality of the poet. In the sonnet, the poet has found individuality, his ego is the small mirror of the big world, and this small world is, in other words, the concentration and density of the big world and is different from it. The themes of lyric poetry, especially ghazal, actually express a kind of distinction and separation that the poet feels. Writing such topics is not only specific to Persian ghazal, but in this passage, Persian ghazal is in sync with the lyrical poetry of the world and its time" (Obadian, 2004: 57). Looking at the history of Persian poetry during different centuries from the first period to the literary return, it can be seen that there were repetitive stereotypes in the poetry of many of these poets, and instead of creating images and themes based on their personal experiences or new elements from the natural world, the poets and resort to life, they have mostly remained within the scope of the poets before them and have included the same images and themes in their poems with minor changes and manipulations. In other words, there is very little creative aspect in these themes and images, and many poets have turned to fantasizing and showing their emotions and feelings within the scope of the attitude of the poets before them. "It seems that throughout the history of Persian poetry, there has been an implicit opinion that any innovation that arises in the field of [theme and] images should not be out of the realm of vision and attitude of the ancients" (Shafi'i Kodkani, 2007: 215). Persian ghazal in the 9th century is very close to the boundaries of imitation, and many poets of this period write in imitation of the Iraqi style and the theme and illustration of ancient times. Qawamuddin's lyric writing in the 8th and 9th centuries coincides with the period when "Hafez's style" and his style of lyric writing completely overshadowed the Persian ghazal. By pondering many ghazal divans of the 9th century, no new voice can be heard and it seems that the whole of the mentioned century is dominated by repetition and imitation of the past. Senai, Molana, Saadi, and Hafez are among the leaders of ghazal writing and are among the top of this style that in this period, their style of ghazal is imitated both in terms and in imagery. Qavam al-Din Muhammad also tries to follow this common tradition throughout his sonnets - at least in terms of themes and images.

Conclusion

Qavam al-Din Muhammad Saini (Yazdi) is one of the poets of the 9th century during the Timurid period, whose works have been preserved. The collections of Qavam al-Din Muhammad Saini (Yazdi), which have not been corrected and embellished so far, contain sonnets. In these ghazals, Qawam al-Din Mohammad, while dealing with the attributes of love and the spiritual and physical components of the beloved, which follows the tradition of romantic ghazal and the style of poets before him, especially the Iraqi and Hafez styles, also pays attention to moral, didactic and even praise themes in his ghazal. has shown In this work, the love affairs of Qawamuddin Muhammad indicate the fact that a restless lover has no fantasy except to connect with his beloved and reach his court, but he fills his loneliness only with the imagination of his beloved. By describing the behavior of the beloved and his appearance, the lover describes this tyrannical, hard-hearted and tyrannical lover, whose beauty and grace are praiseworthy, and on the other hand, he wishes to connect with him and finds no refuge for himself except by his lover's side. In a general point of view, the character of the lover in Qawam's lyrical and romances is more a description of his moral characteristics and behaviors rather than his appearance characteristics, on the other hand, the important and original points in Qawam's lyrical poetry are the aspects of reproach, randy, escaping from the mosque, taking refuge in Deir Moghan, Drunkenness, avoiding wonder and arrogance and paying attention to educational and moral themes that make his sonnets beautiful and catchy. Qawamuddin Mohammad spoke of love as the main theme of lyrical literature with a clear and fluent language, and his entire sonnet describes the face of the beloved in the words of a true lover, love and the moods of a lover.
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