عشق

Based on the cognitive approach of language, human sensory and physical experiences are the basis for understanding abstract concepts. In cognitive linguistics, metaphor plays an important role in human cognitive system; In such a way that many of the most basic concepts in the conceptual system are understood through metaphorical concepts. Love is one of the abstract and emotional concepts for which it seems necessary to use more concrete and objective concepts. Using the theory of conceptual metaphor, this research examines the evidence that Ahmad Azizi has conceptualized the concrete and objective spheres and material over the abstract sphere of love in his poems.

The present research is a theoretical study conducted in the style of library research. The scope and community of study is the Masnavis and the collection of Ghazliats of Ahmad Azizi, and the samples from the total of 131 verses with a metaphorical structure have been selected as examples. This research analyzes the conceptual metaphor of love in Ahmad Azizi's poems using a descriptive-analytical method and a cognitive approach.

Ahmad Azizi used ontological metaphors and various materials to conceptualize love in order to focus on various aspects and functions of love. The result of the text expressing the dominance of three Extended metaphors "Love is living, "Love is material/body", "Love is place" and its organization on a range of micro-metaphors with substance and material on the axis of this Extended metaphors. Based on existing correspondences, these micro-metaphors describe some of the most important concepts related to love, such as leadership, power, greatness, infinity, ennoblement, illumination, sanctity, valuing, excitement, destruction, and connection Conceptualiz. Also, the Image schemas of vitality, motion/path, object, light, and container have been used to connect the origin and destination areas of the metaphor.

The examination of Extended metaphors of love and micro- metaphors related to it indicates that 26 micro-metaphors related to the pattern of animism, 28 cases of physical metaphors and 20 cases of spatial metaphors were used out of a total of 74 metaphor groups. Also, examining the positive and negative functions of micrometaphors and their frequency shows that the poet's view of the intuitive experience of love is often pleasant and positive.

Reason is one of the most important powers of human cognition in the mystical tradition of Rumi, and in cases where love and its conflict are pursued, it is condemned and hinders the movement and flight of the seeker, and it traps the mystic in a relationship and a kind of dead end, and he makes and flies. He praises him. Considering the extent of reflection and expression of the category of reason that has been indirectly and occasionally directly mentioned in Mem and Zain, we can deduce from the characteristics of reason. The present study, using a descriptive-analytical method, deals with reason and its levels based on Rumi's intellectual paradigms and relying on the textual trends and propositions in the work of Mem and Zain. While examining the implications in the text, it has been tried to show that the mainstay of Khani's theories in expressing the path of the levels of reason was based on Rumi's mystical school. The result of this research shows that a great mystic like Rumi, who in his valuable and profound works, especially the Mathnavi and the Ghazals of Shams, has quenched the thirsty souls and souls of the valley of mysticism, knowledge and love with the clear water of his mystical-romantic words. The writer of Mem and Zain has also not been deprived of this clear water, and by retaining the motifs of Rumi's intellectual paradigms in her work, she can invite the Mem or the seeker to stay away

One of the most important elements of resistance literature is the element of freedom. This study attempts to examine and analyze one of the symbols of resistance, which denotes this element, in the poetry of Hossein Monzavi from the perspective of cognitive semantics. Monzavi used the symbol of "love" to denote "freedom" 106 times in total. In his poems, the abstract concept of "love" is associated with various concrete source domains in 27 metaphorical mappings, including human, animal, fire, sun, light, star, umbrella, book, lesson, story, secret, peace, messenger, leader, support, place, tavern, pond, flower, fruit, spring, breeze, death, blood, sword, axe, and chain. Monzavi also employs this metaphorical approach to achieve his symbolic perspective of the word "love" as "freedom," elucidating the common features of love and freedom, including providing warmth, illumination, guidance and leadership, destructiveness and constructiveness, serving as an essential for growth, expansiveness and care, being transferable and teachable, longevity, deliverance and lethality, conveying messages, security, raising awareness and alertness, beauty and attraction, being out of reach, quickly fading, extracting blood, and polishing within his metaphorical mappings of the word "love."

In Man with the two forces of reason and love is considered the highest of creations, and in philosophy based on the union of reason and rationality, not only man, existence is based on reason, and in mysticism based on the theory of the unity of love, lover and beloved and the view of existential unity in anthropology and ontology, the sovereignty of love is recognized. From that point of view, everything should be weighed with the scale of reason and with its help, the movement towards perfection is meaningful, and from this point of view, one can reach perfection with the criterion of love. The relationship between the two has been analyzed as opposition, agreement, companionship, and the like, but Sheikh Najmuddin Razi (573-654 A.H.) claims in his treatise "Maiyar al-Sadiq fi Masdaq al-Ashq" that he explained the perfection of love and the perfection of reasonwhich needs re-reading for its strength, and in this article, with analytical-critical method in a library style and referring to first-hand sources, the standard that she presented is examined and an effort is made to find a way to soften these two complementary forces in existence and in human existence. And an effort is made to find a way to soften these two complementary forces in existence and in human existence, and to show that if the hardware program of existence is made up of reason, its software program is also love, and a workshop of existence is organized at the intersection of these two forces.

Romantic narratives constitute an important part for the history of human culture. Nezami’s world-famous work, Khosrow and Shirin has some hidden characteristics, such as the purpose of love between Khosrow and Shirin, which could be revealed by the help of interdisciplinary approaches. The German philosopher Arthur Schopenhauer believes the main goal of romantic relationships to be reproduction with the mutual motive of procreation. In his view, the selection of the mate is based on external beauty and with the aim of compensating biological imbalances. Without having intercourse and producing children, the lovers eventually tire of each other. It is the principle of “will to live” that makes both parties blindly fall in love. Our research extracts eight major components about the purpose of romantic relationship from Schopenhauer’s book, The World as Will and Representation, and evaluates the stages of Khosrow and Shirin’s romantic relationship according to them. This analysis shows that in their relationship, none of the factors such as distance and loneliness, not establishing a marital relationship for a long time, the presence of competing narrative elements such as Khosrow’s loveless marriage with Maryam and having a child from her, and introducing Farhad –Khosrow's love rival– could result in a permanent reduction of attraction between the two lovers. Even after marriage, they remain in love until death. In this narrative, Shirin contradicts Schopenhauer’s views more than Khosrow. Our analysis reveals that by an idealist view of romantic relationship, Nezami first builds a lyrical theme but with a spiritual infrastructure; and then, contrary to Schopenhauer’s opinions at the beginning of the narrative, he leans towards spiritual love, moving away from Schopenhauer. Eventually, Nezami’s narrative stands in opposition to Schopenhauer’s point of view by honouring Shirin’s spiritual position to the highest levels and highlighting Shirin’s persistence on chastity in accordance with the common religious practice.

This research explores the common teachings of Molavi (Rumi) and Eckhart regarding three essential concepts: pantheism, love, and seclusion. It is well-established that the central theme of mysticism is "God," and mystics strive to establish a spiritual connection between God and humankind. Molavi, the Persian Muslim mystic of the 13th century, and Meister Eckhart, the Christian mystic of the same period, both addressed this profound subject eloquently, inviting humanity across all times and places toward God through a transhistorical and trans geographical perspective. However, the relative obscurity surrounding Eckhart stems from his condemnation by the Church, which accused him of heretical statements, particularly concerning pantheism, leading to the confiscation of his works. On the other hand, the foundation of all mystical schools—whether Islamic or Christian—is pantheism. Both Molavi and Eckhart emphasized this concept, and scholars widely regard them as pantheistic mystics. Undoubtedly, mystics connect with God through their hearts, attain unity through love, and view detachment from others and the practice of seclusion as a pathway to fostering divine love. This study, based on a descriptive-analytical method, investigates the mystical concepts of pantheism, love, and seclusion in Molavi’s poetry and Eckhart’s thoughts, presenting their most significant shared teachings.

Semiotics is the knowledge of studying all kinds of signs and the factors present in the process of producing meaning and their interpretation, and the rules that govern the signs. This theory, while paying attention to various aspects of the structure of poetry, i.e. accumulation, descriptive system, hypogram and structural network, reveal some of the hidden features of the poems. This model accounts for the coherence, intellectual plan and the implications that lie behind the apparent meaning of the poem. This research intends to study LOVE in The Conference of the Birds composed by Attar of Nishapur (1145-1221) and in Fazel Nazari's lyrical poetry based on Michael Rifater's Theory of Semiotics. In this research, we are looking for descriptive-analytical method to investigate and analyze "love" in al-Tayr Attar's logic with Fazel Nazari's lyrical poetry based on Rifater's semiotics. The reason for choosing these two poets is that we wanted to examine the concept of love from the old and new perspectives, and while developing this concept, examine and analyze the views of both poets regarding "love" and point out the differences and similarities between these two views. From the viewpoints of both, love has a very lofty position. As such, the foundation of the created being was based on love and it is with the care and attention of love that life finds its meaning. On the road of lovers, one must eat the blood of his heart, taste bitterness, and destroy everything to reach the true existence and knowledge.

IntroductionKurdish-speaking poets, especially in recent centuries, have paid special attention to the romantic, mystical, and social themes of Persian poetry. The influence of Persian literature on Kurdish poetry is not limited to themes and language, but social and cultural aspects are also important in this context. Kurdish poets, inspired by Persian-speaking poets, have engaged in social and political criticism and have tried to make the voices of their people heard around the world. Haji Bakr Agha Hawizi, nicknamed Qased, is a poet whose life and works demonstrate the deep connection between Kurdish poetry and Persian literature. Born in the 19th century, he grew up in a cultural environment where Persian-speaking poets, especially Saadi and Hafez, had a profound influence on the literature of the time.One of the most striking features of Qased’s poetry is its romantic and mystical themes, which in some cases seem to be influenced by the poetry of Saadi and Hafez. For example, Qased, like these two poets, considers love as a deep and dynamic concept in his poems and uses beautiful romantic allegories and images to this end.Using mystical themes, he describes situations in which love for God and love for a human lover are intertwined; in his sonnets, one can see signs of his life experiences that are reminiscent of Saadi's poems. This essay attempts to examine some of the linguistic features of Qased and to clearly show how Qased, using his own experiences, has utilized the language of Saadi's sonnets to express these themes and at the same time has created a unique poem.  Research MethodologyThe research method is descriptive-analytical.  Discuss Qased is a Kurdish-speaking poet from Iraq Kurdistan who, despite his somewhat different linguistic and cultural background, had a great attachment to Persian poetry, especially the poems of Saadi Shirazi, and this interest is evident in his poems. Qased has followed Saadi in many of his similes, allusions, and linguistic combinations, and by relying on Saadi's language, expression, and themes, he has been able to create a rich and eloquent language that is sometimes reminiscent of the beauty and elegance of Saadi's poems, this sweet-spoken Iranian poet. Qased has been influenced by Saadi in many ways, both linguistically and structurally. This influence reflects Qased's deep attachment and connection to Saadi's poems. By using Saadi's expressions and images, Qased has been able to adapt Saadi's language to his own poetic taste and reflect them in his poetry in a way that is sometimes reminiscent of Saadi's poems. This influence is not only due to pure imitation, but also a sign of Qased's devotion and deep understanding of Saadi's poetic structures and themes, which he was able to romantically apply in his poetry. By reflecting on Qased's poems, it can be said that Qased, in expressing his criticisms of asceticism and hypocrisy of ascetics and recklessness in the face of critics, was inspired by Saadi Shirazi and tried to portray the same concepts and views in similar language.The messenger introduces himself as a Sufi because he is indifferent to the manners and speech that are popular with the people, the outwardly ascetic and he does not care about being infamous among the people. He cares only for love and the beloved, and this has become a source of encouragement and courage for him and the Sufi in the land of good love.  ConclusionIn his poems, Qased has clearly followed the themes, language, style, and poetic method of Saadi. Like him, he uses a simple, fluent language, free from grammatical and linguistic complexities, which makes it pleasant and understandable for the reader. In the choice of words and the structure of sentences, he shows a tendency to use everyday language, to the extent that by reading his poems, one can feel the same simplicity and elegance familiar to Saadi.As we see in Saadi's sonnets, he often uses smooth, harmonious meters and pleasant vocabulary that make it easier for the reader to follow the emotional and semantic flow of the poem. This type of style, with its inner music, draws the reader's attention to the poetic images and immerses him in the romantic and emotional world of the messenger.Conceptually, Qased, like Saadi, focuses on moral, romantic, and human themes in his works. Using this simple and emotional language, he expresses human inner concerns and romantic issues, and, like Saadi, he tries to convey these feelings to the reader in a simple and non-pretentious language.Qased not only follows Saadi in terms of language, but also in terms of thought, he follows his style and view of man and love, and other issues such as criticizing the asceticism and hypocrisy of ascetics, fearlessness in the face of critics, and empathy with the lost and lovers. Inspired by Saadi, Qased criticizes hypocritical ascetics who outwardly emphasize chastity and piety, but inwardly seek worldly status and position.Like Saadi, Qased views the issue of love and is not afraid of the criticism of others. He sarcastically dismisses the criticism of preachers and ascetics as worthless and states that love and devotion are superior to the outward life of asceticism for him. Like Saadi, he is indifferent to the outward appearance of love and points to the truth of love. This love is seen only in the hearts of true lovers who look more closely at its human depth and spiritual commitments.In general, Qased, following Saadi, considers love to be above superficial and worldly judgments and ignores ascetic condemnation. This attitude is especially seen in poems about loyalty to love in the face of hardship. In this way, Qased, like Saadi, respects not only mysticism but also human values ​​that are manifested in true love in his poems.

Love should be considered a human phenomenon and beyond human distinguishing criteria. The existence of this element in a person has given him an identity and increased the pleasures of life for him. The main view of love can be summed up in two dimensions, earthly and cognitive. In the field of psychology, within the framework of the love triangle theory, Robert Strenburg has discussed various dimensions of the concept of deep love and considers it to have three aspects: intimacy, passion and commitment. In Persian poetry, many poets have mentioned this concept. In the meantime, Hosein Monzavi has repeatedly spoken about the importance of love and the necessity of intimacy in his lyrical poems. The aim of the present research is to investigate the functions of intimacy in the bonds between the lover and the beloved as a stylistic component in the poet's sonnets. This research was compiled based on library sources and descriptive-analytical method. The concept of intimacy in romantic relationships, which is explained in Hosein Monzavi's ghazals, in various ways, such as: emotional and emotional support of the beloved; The experience of being happy with your lover; A lot of respect for the beloved and honoring each other; Relying on your lover in times of need refers to increasing the spirit of self-sacrifice and giving money to each other in the relationship.

Love is a pivotal human emotion and a prevalent motif in lyrical literature. Informed by Tomashevsky’s introspective methodology, this study explores the tangible depiction and embodiment of love in Reza Mouzuni’s children’s story, titled “The Ice That Fell in Love with the Sun.” The thematic framework of a literary piece, in Tomashevsky’s view, is a tiered system comprising a collection of hierarchical micro-themes, at the base of which are atomic motifs. In other words, the interplay of constituent motifs shapes the thematic framework of all literary works. Tomashevsky posits that thematic analysis is inextricably linked to the examination of the motif system and its underlying motivations. Motivation is defined as the rationale which validates the inclusion of a specific atomic motif within the thematic system of a literary work. In differentiating between Fabula and Syuzhet, Tomashevsky elucidates the correlation and placement of each motif within Fabula and Syuzhet, categorising motifs into two types: dynamic/static and free/bound. This descriptive-analytical study seeks to investigate the functional structure of atomic motifs within the molecular system in light of the romantic theme of the above-mentioned story. This study concludes that the lyrical thematic framework is informed by the interplay of micro-lyrical themes across both Fabula and Syuzhet levels.

Love is one of the most important issues of Mysticism and Sufism, and its priority and delay are different for Mystics. Some pundits have found love as a way to reach Mysticism, and others see it as the post-mystical stage. Azizi, who has created the new Shatha following the ancient mystics, explained love like many experts.The scope of this article is to examine his views on the subject of love ritual, which is actually an examination of the method of romantic conduct, in his works of poetry and prose, such as " yek Livan Shateh Dagh, Malakut Takalom, Tarjome ye zakhm, Sharji Awaz, Qose Ghazal" etc.The author of this research tries to examine the intellectual framework and the place of love and the way of love in the mentality of Ahmad Azizi.The hypothesis of this work is that Azizi prefers love to mysticism, but in practice he sees both as one. The result of the research was that Azizi believed in the union of love and cognition and did not see them separately from each other. He commented on Roozbahan's style of love and Molavi's style of expression.

This research studies the concept of love from Sheikh Ishragh’s perspective in Attar of Nishapur’s Mantiq Al-Tair paintings by Kamal Adin Behzad.The concept of love from Suhrawardi’s perspective as a love theory is a unique concept which is different from the mystical and aesthetic approaches to love due to its wisdom-centrism.In present study,4 paintings are analyzed using descriptive-qualitative approach.The main goal of this research is to discover and analyze the elements reflecting the Sheikh Ishragh’s love perspective as well as finding the answers to the following questions: based on the centrality of wisdom in Suhrawardi’s theory of love, which of the Behzad’s paintings elements in Attar of Nishapur’s Mantiq Al-Tair paintings can be analyzed on the basis of this theory?The results of the analysis imply that the association of concept of love from Suhrawardi’s perspective and reflection of love in Behzad’s paintings elaborates on the wisdom centrality of Sheikh Ishragh’s theory. The reflection of love from Suhrawardi’s perspective in Attar of Nishapur’s Mantiq Al-Tair paintings was studied in details.Using the contrasting visual elements and compositions, in these paintings to show the contrast of wisdom and ignorance is used as the main themes of Suhrawardi’s love. Each of these themes are accompanied with a theme of suffrage and sorrow whose origin is self-knowledge towards the destination of theism. Finally, this can be implied from the analyses that using all these symbols and signs were consciously and were used very carefully by painter which are compatible with concepts Suhrawardi and Attar reflected.

Accurate recognition of the works and thoughts of Islamic mystics is not possible without knowledge of their specific mystical traditions and methods, as their thought system is derived from the principles of the mystical tradition and the customs of their mystic school. This descriptive-analytical research, focusing on Love and Reason by Najm al-Din Razi, and Reason and Love (Monazerat Khams) by Ali Ibn Turke Esfahani, aims to specify the traditions and mystical schools related to these mystics based on the criteria of the first and second mystical traditions. The findings reveal that these two mystics are influenced by the first mystical tradition in their goal and approach. However, in other works of Najm al-Din Razi, signs of his inclination towards the second tradition can be seen. Najm al-Din Razi does not believe in the efficiency of reason in attaining knowledge, but Ali Ibn Turke’s opinion is the opposite. Regarding the means of knowing and discovering knowledge, Najm al-Din Razi belongs to the first tradition, and Ali Ibn Turke to the second tradition. Love is a significant and widely used concept in Love and Reason, whose intended meaning is close to the first mystical tradition. “Inebriety” and “Ecstatic Expression”, in Reason and Love, are concepts that share the same wording and meaning in both traditions. Mystical language, in Najm al-Din Razi’s work is phrasal. However, in Ibn Turke’s book, it is a combination of phrases and allusion.

The horizontal axis of Mansour Hallaj's life represents the passage of time, while the vertical axis illustrates the key events of his life. Hallaj's ideas are reflected in numerous works, including those of Fakhr al-Din Iraqi. This research demonstrated that Iraqi, through the coherence and strength of his words, captured the depth of Hallaj's mystical thought by intertwining these two axes in a convergent manner within his poetry. The influence of Hallaj's teachings on the Iraqi lexicon was profound, revealing two central themes of mystical discourse: "the unity of existence" and "the descent and ascent of secrets". These themes were expressed boldly and evocatively, embodying the dynamic relationship between the lover and the beloved.

In the last two centuries, especially after the connection with the Western world, the Islamic world faced challenges that it has not yet been able to overcome. Although, since then, efforts have been made by religious reformers in Islamic countries to find the root of these problems and backwardness. In the meantime, one of the common topics among Islamic thinkers and political and social reformers has been the type of religiosity and the place of religion in the current world, and they have tried to present a suitable position for religion as one of the manifestations of tradition. In this research, with analytical and descriptive methods, an attempt has been made to present aspects of Islamic Sufism, especially Khorasani Sufism that may be helpful in solving the current problems of the Islamic world. The result of this research confirms that the main challenge of religion in today's world is not the religion itself and its teachings, but the type of religiosity of the inhabitants of this geography. Therefore, it has been tried by introducing some aspects of Khorasani mysticism and Sufism such as; The artistic life of religious people, tolerance and peaceful patience, the connection between the two scientific and social dimensions of great mystics' lives, coping with people and emphasis on altruism,. These might be applied as an important step for overcoming the current problems of the Islamic world.

One of the ideas of formalists is the deviation of literary language from standard language; They studied style in terms of deviations and deviations from standards, and these issues have been the focus of innovative and expressive literature since ancient times, on the basis of which the discussion of non-normization has been developed today; And they have divided into types such as phonetic, lexical, syntactic and style deviations. Nimai's contemporary poetry is a type of deviance compared to classical and traditional poetry. Among the modern poets, Forough Farrokhzad is one of the most successful poets of this era, who in his works has avoided the norm of the word "love" in a variety of semantic, lexical and stylistic ways. Avoidance of the word "love" in his poetry is rooted in his turbulent life and failures. In the present research, we aim to investigate and analyze the normative deviation of the word love with reference to Diwan Forough with library research method and analytical-descriptive method. The result of the research shows that Forough has used the meaning of norm avoidance in most of the norm avoidance of love.

Fate, love, and world-avoidance are among the most fundamental and frequently addressed intellectual foundations shared by thinkers of mysticism, such as Plotinus, and enlightened poets like Jami. Mystic philosophers believe that the origin, existence, and ultimate destiny of humans are based on divine fate, adorned with the delicacy of love, the most beloved grace of God. Human absorption in this love can lead to salvation from the veils of tyranny and luminosity in the creation of the realm, facilitating ascension towards perfection and eternal proximity. This research aims to analytically and descriptively explore the concepts of fate, love, and world-avoidance, relying on the views of Plotinus, a pioneer in the philosophy of mysticism. The study also investigates the perspective of Nūr ad-Dīn 'Abd ar-Rahmān Jami on these concepts. The author seeks to answer the questions of how Plotinus and Jami perceive fate, love, and world-avoidance, and what intellectual commonalities exist between them in this regard. The findings of the research show that Plotin and Jami consider destiny as a general plan governing the universe. These two extremes consider love to be "one", and virtual love is only a means to reach the Supreme. Both of them believe that the fleeting world is not worthy of attachment and emphasize the necessity of self-cultivation and giving up attachments.

Saadi Yusuf and Ahmed Shamlou are among the greatest poets of the present century who have presented intangible concepts such as love in a tangible form to the audience of their poetry by using conceptual metaphor. The cognitive study of conceptual metaphor in the poems of these two poets is not the only way to understand abstract concepts such as love in a material conceptual framework called "lost object"; It is also a way to understand the abstract concept of love more deeply. The reflection of the intangible image of love in the tangible mirror of the "lost object" helps the audience to understand this complex and intangible concept in a simpler and more tangible way. This research investigates the creative organization of the concept of love as the destination realm in the empirical form of "lost object" as the origin realm with an inductive and descriptive-analytical method and with the comparative approach of the American school. In addition, it also deals with the mapping of this name mapping quantitatively and in the form of a diagram. The results of the present research are that by identifying the systematic correspondences between the intangible concept of love and the tangible concept of "lost object", in addition to proving the textual coherence and showing the structural link, the missing aspect of this basic and life-creating concept is highlighted in the social dimension and the dangers of a world without love are reminded. learned and bring it back into life.