ضیافت

 Man has a dual existence, and just as he needs food to cultivate his physical powers, he must take measures to cultivate his spiritual powers. One of the most important actions that can help to strengthen and refresh the spiritual dimension of a person is recreation. Realizing this need from the distant past, people tried to develop their spiritual powers by engaging in various types of entertainment. This problem is especially observed among ruling families who had more facilities. The Seljuk sultans were also among these families who, understanding this need and following the entertainment tradition that remained for them from the previous period, used different ways to spend their free time. During this period, various recreational activities such as hunting, strolling, traveling the countryside in temperate climates, polo, playing backgammon and chess, shooting, horseback riding, and holding banquets were common. In addition to their primary and immediate function, i.e. leisure, these entertainments also had a political-military function. Most of the time, this type of entertainment function was created unintentionally, and in some cases, the political actors of this era deliberately and with prior knowledge carried out a type of entertainment with the aim of the political-military exploitation of the occasion. This issue caused the courtly classes to become aware of the conspiratorial and political nature of some types of entertainment and in many cases, when they suspected the intentions of their organizers, they refrained from engaging in such entertainments. However, these functions in some cases played a constructive role in the political-military developments of the Seljuk era. And in other cases, they had harmful effects on the political life of the period and became a place for political settlements and conspiracies of opponents against each other. The political-military functions of the pastimes of this period were in some cases related to sultans and in other cases to Seljuk officials and officials such as great emirs and ministers.

The current research was done in a historical way. In this method, by using the method of library research, first by referring to the sources related to the Seljuk period, all the necessary data for writing the research have been collected. In the next step, the aforementioned data were reviewed and analysed, and then the reliable information was written in a descriptive manner in line with the purpose of the research. Also, the authors have tried to contribute to the richness of the article by providing analysis based on witness accounts and remaining documents.                   

 The decentralized structure of the Seljuk government, which was influenced by the political and social traditions of this dynasty, consisted of a central government and various local and tribal dynasties. This feature has turned this period into one of the most turbulent periods in the history of Iran. The political actors of this era, including sultans, local rulers and nobles, court families and great nobles, used every opportunity to settle political accounts with their rivals and opponents. The entertainments of this period were among the important opportunities for the exploitation of different political groups. During the Seljuk era, there were entertainments such as banquets, celebrations, hunting, traveling, sexual entertainment, dance and music, wine parties, history and story-telling, shooting, riding, polo, humor, poetry and intellectual games. Although most of these recreational activities served political-military functions, it was particularly obvious in some activities such as hunting, polo, banquets, poetry and satire. In terms of its essence, this function can be examined in two ways, military and political. Some types of entertainment such as hunting and polo had a military nature, and some, such as banquets, had great potential to turn into events for deceiving, arresting and eliminating political opponents. Thus, the political-military functions of the entertainments of the Seljuk era can be investigated in terms of their influence on the political events of this era in the form of two groups of positive and constructive functions, as well as negative or non-constructive functions. The first positive political-military function was to increase the combat and operational power of the Corps, which was achieved through simulating the battle scene and strengthening the physical strength of the soldiers by doing recreational activities such as hunting and polo. These activities, in addition to increasing the fighting power and agility of the soldiers, were a simulation of the battle scene with the enemies. Also, sometimes the players acted under the guise of such entertainments as hunting, killing enemies or collecting secret military information. The second positive function of these entertainments was to increase the legitimacy of the sultans. The sultans of this dynasty used some types of entertainment of this age as a weapon in order to increase their legitimacy. In this regard, we can mention the skill of hunting strong animals such as lions as a means of propaganda. Maintaining and promoting the status of government officials was another political function of the entertainments of this era. The skill of some government officials in performing entertainment or providing conditions for the entertainment of the sultans further secured their position as agents of the government. The entertainments of this period also played a constructive role in the relations between the central government and the local rulers, and the great Seljuk sultans used the capacities of some entertainments such as poetry recitals to create convergence between themselves and the rulers. Or they used to de-escalate the tension between themselves and their subordinates in the course of friendly meetings while engaging in such entertainments as banquets. The giving of various gifts related to the entertainments of this era, such as special horses and hunting animals, was one of the other capacities of the entertainments of the Seljuk period to create convergence between the central government and its agents and other local rulers. In some cases, a type of entertainment led to the acquittal of the angry and even saved the life of the mentioned person, and thus the entertainments of this era played an important role in the political developments of the Seljuk era in a different way. In this context, we can point out the sugar-coated language of satirists with regard to the sensitive cases of reprimanded or persecuted officials, which would end up saving their lives. Also, the skill of some government officials in performing some types of entertainment such as polo caused their mistakes to be ignored by the sultans, and the poisonous propaganda of their opponents was neutralized. The removal and installation of sultans and some local rulers was the first negative and non-constructive political-military function of the entertainments of the Seljuk period. The extravagance of some sultans and local rulers gave their opponents an excuse to surprise them by using the capacity of some types of entertainment such as banquets and then remove them from their positions. The removal and killing of government officials were the second negative political-military function of the entertainments of this period. In this way, they killed their opponents on the pretext of overdoing it through a surprise attack. Also, by getting the satisfaction of the sultans in providing the means to engage in a hobby, they provided the basis for killing their rivals.                                                                                        

The nature of some types of entertainment in the Seljuk era, along with the tense and complex political atmosphere of the time, caused the traditional entertainments of this period to acquire a political-military nature in addition to their function of invigorating and making people happy. Entertainments of the Seljuk period had seven political-military functions, which are divided into two groups: positive functions and negative functions. The political functions of these entertainments, which had a constructive effect on the course of events in this era, include strengthening the physical and operational strength of the army, promoting the legitimacy of the sultans, maintaining and promoting the status of government officials, acquitting political dissidents, and improving the relations between the Seljuk court and the local rulers. Negative functions also included the removal and installation of sultans and local rulers and the removal and killing of government officials. Although the recreational and invigorating function of the pastimes of this period was fully conscious, most of the political-military functions of the types of pastimes of this era were involuntary and unconscious. This means that the activists of this era did not perform these entertainments with the motivation of fulfilling such functions, but during their occupation, such functions arose involuntarily. Of course, some of the political functions of the pastimes of this era prioritized their recreational function, and even in some cases, the political nature played a more important role than the recreational aspect in engaging in a particular type of recreation. The political-military functions of the entertainments of the Seljuk period included all political spectrums and groups, including sultans, great emirs, ministers, slaves, and other Seljuk appointees and vassals in the states

Carnival, the dynamic center of joyful spirit of debate and libertarianism of people, always shows power in the face of the absolute thoughts, with its solubilization and making solutions. Literary representation of carnival tradition and the anti-ban spirit of folk festivals, later in the Caniavalesque literature in the form of several techniques such as parody, relativity and binary opposition, crowning/uncrowning, lower urban language, the Themes of Death and mask, and banquet imagery were manifested, each of which was an artistic carnivalized response to the spirit of one-sidedness and self-sufficiency of the authoritarian party. Bakhtin's narratology project in the analysis of Novel-tendent prose considers carniavalesque as the keyword of modern novel developments by emphasizing the exploratory method of this idea in beliefs constructed carnival. The importance of paying attention to carnivalesque literature from the perspective of Bakhtin's critical approach lies in its ability to study and re-read the strategies of these works in objectifying the Liberal tendency of anti-dogmatic modern narrative discourse. Relying on the method of descriptive-analytical research, by observing the examples of carnivalesque of the novel "The-Game-of-Forgetting" in the form of the above components, we try to measure the success of the Moroccan "Mohamed Berrada" in dialogizing his work and promoting the spirit of polyphonic democracy in Arabic novel writing. The study of the novel from the perspective of carnivalesque literature indicated That: Berrada, with methods appropriate to each of the components such as: desecration, degenerating the transcendent enumerated concepts, inversion and replacement of oppositions, refutation of perfectionism and pre-recognized bases of rulers; It overturns hierarchical norms and seemingly inviolable rank-oriented relations, and by emphasizing multipolarism, will centralize rejected discourses once again. It'll leads the audience to the status of subjectivity and knowing the state of polyphonic nature of the universe, in the shadow of democracy, and has ultimately made his novel a successful example of global carnivalesque literature with a local twist.

Carnival, the dynamic center of joyful spirit of debate and libertarianism of people, always shows power in the face of the absolute thoughts, with its solubilization and making solutions. Literary representation of carnival tradition and the anti-ban spirit of folk festivals, later in the Caniavalesque literature in the form of several techniques such as parody, relativity and binary opposition, crowning/uncrowning, lower urban language, the Themes of Death and mask, and banquet imagery were manifested, each of which was an artistic carnivalized response to the spirit of one-sidedness and self-sufficiency of the authoritarian party. Bakhtin's narratology project in the analysis of Novel-tendent prose considers carniavalesque as the keyword of modern novel developments by emphasizing the exploratory method of this idea in beliefs constructed carnival. The importance of paying attention to carnivalesque literature from the perspective of Bakhtin's critical approach lies in its ability to study and re-read the strategies of these works in objectifying the Liberal tendency of anti-dogmatic modern narrative discourse. Relying on the method of descriptive-analytical research, by observing the examples of carnivalesque of the novel "The-Game-of-Forgetting" in the form of the above components, we try to measure the success of the Moroccan "Mohamed Berrada" in dialogizing his work and promoting the spirit of polyphonic democracy in Arabic novel writing. The study of the novel from the perspective of carnivalesque literature indicated That: Berrada, with methods appropriate to each of the components such as: desecration, degenerating the transcendent enumerated concepts, inversion and replacement of oppositions, refutation of perfectionism and pre-recognized bases of rulers; It overturns hierarchical norms and seemingly inviolable rank-oriented relations, and by emphasizing multipolarism, will centralize rejected discourses once again. It'll leads the audience to the status of subjectivity and knowing the state of polyphonic nature of the universe, in the shadow of democracy, and has ultimately made his novel a successful example of global carnivalesque literature with a local twist.

. The Symposium by Plato, best known in Persian as Ziāfat, is the scene of dialogue in a banquet held by Agathon, the tragic poet, on the special occasion of celebrating the prize for his first tragedy in 416 B.C. In this symposium, every attendee, including Phaedrus, Pausanias, Eryximachus, Aristophanes, Agathon, and Socrates, gives a speech about Eros, respectively. Eros is known in Greek culture as Love or desire _ especially sexual and personified as the God of love. Two of Plato’s most famous dialogues focus on understanding Eros, the Symposium and the Phaedrus. (Preus, 2007→Eros)
The cause for comparing Nizami's Khosrow and Shirin and Plato's Symposium in this essay is their shared fictive patterns, except for similar themes that exist in both of them. The title of Hakim for Nizami, the sixth-century well-known poet and storyteller, indicates that he had a good grasp of common sciences of his age of which philosophy and Hekmat (wisdom) were basics. And this interest in philosophy can be seen in Iskendernāme and his other works like Khosrow and Shirin.
 
2.In the article, the perspectives of Plato and Nizami toward the arts in the Symposium and Khosrow and Shirin have been analyzed by library research method and content analysis. At first, the process of creating figures of speech that result from the unity of reason (Logos) and love (Eros), and then the importance of various rhetorical figures were studied in these two works.
 
3.There is a kind of social forces assemblage in Plato’s Symposium and Nizami’s Khosro and Shirin; each has a specific thought method about Eros (love) as well as a romantic relationship. Love brings people of different viewpoints together to communicate with each other. Even Techne or technique is one of the significant issues in the Symposium, including a kind of sense, consciousness, and love, which helps the human to create artworks. On the other hand, even in Khosrow and Shirin, love is observed in all types of arts; music, painting, architecture, poetry, and politics are all manifestations of Eros. So, “Techne” or “technique” and its relation to “Eros” or “love” is one of the subjects to study in both works.
In the present study, Plato and Nizami’s views have been analyzed on the techniques in the Treatise of Symposium and Khosrow and Shirin. First, the process of techniques’ creation, obtained from the association of reason (Logos) and love (Eros), and then the importance  of techniques’types in these two works have been studied.
 
4.
The perspective of Islamic philosophers about arts (different kinds of Techne) can be divided into verbal and non-verbal areas. Indeed, verbal arts are five Arts (five functions of the language in Aristotle’s view) following logic. And non-verbal arts are crafts, following ethics, under the branch of political philosophy.
According to Plato’s Symposium, the perception of rational imageries and the distinction between good and evil are manifested with the advent of Eros. When a human falls into love with someone for the first time, his/her obsession or object of love is perceivable with external senses, concretely and partially. But this love in human beings gives rise to the distinction because a lover always sees the beloved better and superior than others. The distinction of “superlatives,” that comes with love, in higher stages entails recognition of universals and the advent of philosophy by which one distinguishes between the data of estimative faculty and the data of rational faculty and does not get caught in the trap of fancies. Issues expressed in Khosrow and Shirin have a similar pattern to those of Plato’s Symposium examined in this article.
In both the Symposium and Khosrow and Shirin, with the advent of love, the discriminating faculty that is the reason is created in person, and the other arts are manifested following that. Love (Eros) is like a midwife that brings forth the reason (Logos); Thus, the reason is the logos or the rational soul connecting love with the arts because love (Eros) takes the monstrous reason to the actual stage. And the manifestation of various arts is one of the results of love’s advent and the actualism of reason. Nizami in Khosrow and Shirin has entered fiction from the viewpoint of utopias. And it has such priority that at the beginning of the debate between Khosrow and Farhad when Farhad introduces himself as belonging to the state of love and friendship, the first question that Khosrow asks him is about the craft of his fellow citizens.

The Study of love and its meaning, not as a philosophical, literary or social concept, but as a multidimensional concept, has stretched different aspects of human life, from the adventure of mysterious creation to the mechanical life in today's world, and it has been in the idea of the scholars of the different nations, from Plato and Avicenna to Simon de Beauvoir and Sternberg. For this reason, we recognize love as a motivating category that made created enthusiasm in different layers of human life, and it has been manifesting at the highest level of human mental experience. Among the works in which a specific concept of love is expressed, we can mention The Symposium of Plato and The King and Slave Girl of Mevlana. Each of these two works has showed the metamorphosis of the concept of love and its types. This paper, relying on the relationship between wisdom and philosophy, studies the truth of love, the types of love, and its functions and requirements in these two works. The most important conclusions of this study are that love in the idea of Plato and Mevlana, has an evolutionary path. The base of Plato and Mevlana’s attitude to love is philosophical, and according to this view they have studied the nature and essence of love, and then they classified the categories of love based on its quality. In the wisdom view to the concept of love, there is a significant relationship between the higher and lower of its types. Mevlana is influenced by ancient Greek philosophy in the story of The King and Slave Girl.