نظامی گنجوی

The main issue of the current research has been to investigate and introduce the compositions in military poetry as short structures. Descriptive method and content analysis were used to conduct the research. The results of the research show that, contrary to popular opinion, combinations do not create brevity only in the syntactic-semantic structure of the poem. Rather, these compounds play a role in extensive verbal brevity at all linguistic levels (phonetic, lexical, syntactic and rhetorical). These combinations in multifaceted proportions with other elements of the axis of coexistence, twinning, both eliminate/reduce the number of linguistic units (letters and customs, words, sentence/sentences, verbs, conjunctions, adverbial, descriptive and infinitive groups) and strengthen the artistic meanings and The meaning of poetry is from music to meaning (which is beyond the normal soft abilities of language). Some of the military-made compounds are ciphers with an archetypal, hermeneutic or philosophical intertextual background that conveys a large amount of data in limited linguistic units by observing the lexical economy. Therefore, most of the compounds (and not all of them) in Nizami poetry can be considered as multi-purpose shorthand structures, which at different levels of the language (both through omission and reduction) cause comprehensive literary and discourse shorthand.

Nezami is one of the few poets who has been able to establish a special niche on the borderline of mystical and lyrical literature by mastering various fields. A look at the Haft Peykar story from the perspective of mystical symbolism and the unraveled codes which the narrator ironically or explicitly provides reveal a mystical atmosphere in the whole story. This is something ignored so far, despite some efforts. With a descriptive-analytical method, the present research seeks to examine the multi-layered concepts that the narrator has placed in the course of this story so that its mystical dimensions can be revealed in detail and in a reasoned manner. The results of the study show that in Haft Peykar, Nezami starts outside the world, enters a mysterious process, and puts all the important signs of narration at the service of spiritual and semantic transformation, while preserving the initial layer. Thus, he has established a special and unique plan of mystical behavior.

The present article examines body language and the semiotics of human emotions in the story of Layla and Majnun by Nezami Ganjavi. This study, focusing on emotions such as generosity, moderation, self-sacrifice, falling in love, caution, submission, and contentment, demonstrates how these feelings are portrayed through nonverbal signs and the body language of the characters. Utilizing semiotic analysis and social psychology methodologies, this research investigates how these emotions are reflected in bodily movements, facial expressions, and symbolic behaviors of the story’s characters. In this regard, special emphasis is placed on the relationship between signs and emotional concepts in the text, particularly how these concepts are conveyed to the reader through nonverbal signs such as the act of giving wealth and possessions, accepting separation from the beloved, and other physical and symbolic behaviors. This study also reveals how Nezami, by employing body language and subtle signs, embodies and conveys ethical and humanistic concepts. Thus, Layla and Majnun is not merely a tale of passionate love; rather, it carries profound social and psychological messages embedded within the characters’ behaviors and body language.

This article compares the lyrical mentality of Nezami Ganjavi in the poems Leyli va Majnoon and that of Khajooy Kermani in the poem Gol va Nowrouz. The dramatic difference of the lyrical mentalities in these works is the result of the fusion of the poets’ and the audience's mental patterns. Nezami Ganjavi’s mastery in the poem Leyli va Majnoon is an example of traditional lyrical poems in the Persian literature. The poem  Gol va Nowrouz by Khajooy Kermani also has a high position in the Persian literature in the form of a Masnavi with lyrical and romantic contents. The points discussed in this research include a) the mind and influential lyrical personality of the two poets, b) the presentation of romantic contents that end in human education and c) the mentality of the audience. Loyalty in love is the main theme of the two poems, and both poets refer to an informative and wise issue with a lyrical nature. The internalized feelings and emotions that can be concretely understood by the audience in both poems are examined and analyzed. The content elements of the two poems are based on love for education and human development. Therefore, in this article, the themes, thoughts and views of those two works are examined, and the degree of their influence on education and training with the mentality of the audience is evaluated. In Leyli va Majnoon, there are certain inner meanings that are not seen in Gol va Nowrouz. However, most of the lyrical themes are common in these two poems, and there are also differences that sometimes seem prominent.

The interpretation of "The Lord of Lords" at the beginning of a romance by Nizami Ganjavi (1141 – 1209): “Khosrow and Shirin”, under the title "About Monotheism" is neither verbal nor spiritually compatible with the principles of monotheism in Islamic theology. The central issue of this article is that by explaining and interpreting these verses, it can provide an epistemological and ontological model for an accurate understanding of the depth of the thoughts of this sage. This proposed model is: "Hermetic worldview". This article seeks to interpret the phrase "The Lord of Lords" in Nizami's theology based on the Hermetic epistemological system and to generalize it to the entire theological system of Nizami. For this purpose, first, by exploring the history and content of Hermetic texts, we have provided a general outline of its theological system, and then we have searched for the traces of those teachings in Iranian and then Islamic texts. In the next stage, we have studied the influence of those teachings through the Sabians of Harran, and Suhrawardi's works in the intellectual atmosphere of the contemporary Nizami period, and with intra-textual and extra-textual evidences, we have tried to show influence of Hermetic ideas on him, especially Hermetic dualistic theology, which believes in the existence of a supreme God and a creator God.

Numerous Islamic sources, especially various Iskandarnāmehs, portray Alexander as a popular figure. Nizami too, in his Iskandarnāmeh, strives to depict Alexander as the epitome of an ideal ruler. This study investigates two letters from Dara and Alexander in Nizami’s Sharafnāmeh. To perform the analysis, this article utilises overwording, hyponymy, antonymy, marked vocabulary, metaphors, sentence types, nominalisation, sentence modes, modality, pronouns, persuasive strategies, sentence cohesion, interactional conventions, and broader text structures from the descriptive layer of Fairclough’s Critical Discourse Analysis. This study concludes that Nizami tends to portray Dara as a proud, arrogant, exclusive, foolish, traditional, and reveller character; on the other hand, he depicts Alexander as a wise, God-fearing, warrior, young, eloquent, and powerful figure. Furthermore, Dara’s wording is always harsh and direct, while Alexander’s words are indirect and veiled.

Lover, s life and story has always been used by narrators and storytellers , therefore love stories have covered a large port of literature in different countries. Laili and Majnoon is cosidered as one of the oldest and thr most famous Arabic stories that has greatly influenced the expansion of love stories in Persion literature . At the end of the 6th century AH, the arrangement of romantic stories by Nizami Ganjavi reached its highest peak. He versified several famous stories of his era in such a way that most of romantic versifiers, knowingly or unknowingly, were affected by his style and method of narration. One of his glorious poems is Layly and Majnoon the root of which should be searched in Arab literature. The story has been imitated in different languages several times by poets. In this study, after providing some introductory grounding, the author tries to briefly present the historical- social roots, time and place of the story and the date of its propagation in Arab and Persian literature. Then by paying attention to a brief explanation of the Arabic narration accompanied by Nizami Ganjavi's version of the story, he attempts to make a comparative, analytical criticism of the cases.

Today, editing is a type of knowledge with a defined framework. In the process of editing, someone other than the author or the poet edits the created text from the linguistic and technical aspects and makes changes to it. The type of editing this research is concerned with is different from editing in the contemporary era. In this kind of editing, the poet manipulates and modifies his work and, according to his style and attitude, he makes changes during and after composition. In fact, the poem which is the result of inspiration and intuition, is manipulated. In Persian poetry, there have been poets such as Sanā’ī and Attār or Hafez, par excellence, who were not satisfied with their poetry in its original form and worked for its perfection. Nezāmi Ganjavi is one of the other poets who believed in the literary editing of the text, and himself applied edits to his poetry and coined the term Ghalat Kāri (working on the falsity) for it. This type of editing also includes alteration of stories for reasons such as aesthetic preferences, moral considerations and avoiding repetition in the form of expression. There is another reason behind avoiding repetition, which relates to commonalities between a number of Nezāmi Ganjavi's stories and other poets and writers such as Ferdowsi. In addition to the poets, whose views are very important about this, writers have also expressed their views in this regard. Some writers have agreed with manipulation in poetry and some are against any kind of manipulation. These theories are sometimes expressed directly and sometimes are indirectly implied and should be understood through the principles and rules expressed for poetry. In this research, the editing in poetry has been investigated by emphasizing Nezāmi Ganjavi's works and his views.

The basis of Eric Burn's theory of interaction analysis is based on the three aspects of parent, child and adult. The interaction between emotional states can be used in the analysis of human behavior, clinical drama, therapy, communication and behavior. Analyzing my moods in literary texts is a practical way to find out the roots of behavior. In his stories, Nizami-Ye-Ganjavi has paid attention to the situations related to human relationships and the mental and psychological states of the characters and their communication, therefore, the behavioral typology of the characters in his stories can be examined from the perspective of this theory. In this research, with an interdisciplinary approach and relying on library sources in a descriptive-analytical way, we analyze the relationships between the characters in the story of Bahram Gur and his maidservant and show that there is a strong and deep connection between literature and psychology and that the stories of ancient Persian literary texts have the capacity and capability of psychological criticism. In this essay, after stating the theoretical foundations and explaining the psychological terms, the authors have interpreted and explained the verses of the story, paying attention to the clues and signs of the theory of reciprocity. The findings show that the personality dimensions of people in the stories are revealed in the form of their behaviors. The general nature of the story is the child/parent dominated by the adult. According to the Karpman triangle, Bahram is the oppressor, the victim's maid and the savior colonel.

 Characterization is one of the main components of storytelling. Character is a set of characteristics that make up the existence of a person in the story, and the audience expects to see the same characteristics in that person when dealing with that person at different stages of the story. Therefore, characterization is the art of portraying the characteristics and character of the people involved in the story in such a way that it is expected and believable. In this article, an attempt is made to compare the characterization in Khosrow and Shirin Nizami and Shirin and Farhad Vahashi Bafghi, and the similarities and differences of the views and tastes of these two poets in The field of characterization should be explained.

 This research has a comparative aspect and is based on the comparison of Khosrow and Shirin Nizami and Shirin and Farhad Vahshi Bafghi in the field of characterization methods. Discussions are presented in a combination of description and analysis.

 The findings of this research show that although the theoretical discussions related to the field of characterization are new and have become common in Iran since the encounter between Persian literature and Western literature in the contemporary period, two great Parsigo poets, Nizami Ganjavi and Vahsih Bafghi with Relying on their ingenuity, they have done characterization at an appropriate level.

 Nizami actually wrote the history of Khosrow Parvez"s life and reign, although he highlighted its romantic aspects as well. The main character of his poem is Khosrow, followed by Shirin and other characters, who are also numerous, some of them have secondary aspects and some of them are black. On the other hand, Vashvih has chosen a section of a bigger story and according to this choice, he has also chosen the characters. The number of characters in the wild system is as minimal as possible. The characters in the military system have more individuality due to the fact that they act in the heart of a historical text, and in the wild system, the aspect of the type of characters, whose number is also small, is more impressive, and even Farhad can be more or less He considered a symbolic and at the same time eternal character. The characters of the military system have more action, but the characters of the wild system are more like the people in the painting, who are quiet and still, and the poet is standing next to this painting and is talking about the people in it.

Beliefs and beliefs are a part of people's public culture, which includes superstitions, medical, astronomical beliefs, beliefs related to animals, etc. , and a significant part of poets' works are dedicated to beliefs related to animals. Nezami is one of these poets who has reflected these beliefs in his Panjganj. He has used the elements of fantasy to make these beliefs attractive and beautiful. Therefore, in this research, the folk beliefs of animals; That is, animals and together with the elements effective in the beauty related to the images of these animals, are examined in Khamse Nezami. The working method in this research is descriptive and analytical based on library studies. The results show that under the influence of the culture of his era, Nezami was aware of the beliefs related to animals and used many animals and birds as the basis for creating various themes. In addition, he used simile, metaphor, irony, and allegory to make these beliefs more beautiful

In the present research carried out using descriptive-analytical methodology, attempt was made to analyze the intertextual relationship between Eskandar –nāma of Nizami and Aeineh Eskandari (the Alexandrian Mirror) of Amīr Khusrow Dehlavī based on Genette’s transtextuality theory. The result of the research revealed that the most significant transtextual relationship between Eskandar –nāma of Nizami and Aeineh Eskandari is hypertextuality based on the impression relationship. In terms of intertextuality, Aeineh Eskandari was most often impressed by Eskandar –nāma explicitly and implicitly. In terms of architextuality, the main genre of both books is epical and didactic, respectively. Concerning paratextuality, the result indicated that the headings and subheadings were the same in both works with the difference that Nizami has chosen the subheadings based on the main character of the story and its events but Amīr Khusrow Dehlavī has given a summary of the story in the subheadings. Also, in terms of metatextuality, it was observed that Dehlavī has criticized Nizami’s work and rejected his theories in the chapters: Eskandar’s battle with the khagan of China, Eskandar’s making of a mirror, Eskandar’s going into the darkness, Eskandar’s prophethood, making of astrolabe, Eskandar’s life, Eskandar’s death and Eskandar’s burial place.

The form of verse in Persian literature has long been a tool for promoting religious and political concepts in the general society. One of the most important concepts presented in this format is "the truth of Muhammadiyah" or the perfect human being. This concept means the first determination of the divine nature and comprehensive attributes of God in the person of the Holy Prophet (PBUH). The historical background and the way of life of the two poets were effective in expressing the concept of "the truth of Muhammadiyah". In this research, this question is raised, how is the concept of "the truth of Muhammadiyah" reflected in the two works of Khamsa Niẓāmī and Abd al-Malik Isami? Using the method of historical description and analysis, it can be argued that the reflection of the concept of the truth of Muhammadiyah in the two mentioned works was to complete the circle of legitimacy. Acquiring the fact that Isami used the method of transferring robes from the caliphs of Rashidun to the sultan of his time in order to legitimize the kings of his time (Bahmanians of Deccan) in Futuhus-Salatin. It is one of the achievements of this research.

Medicine and the knowledge of medicines have been common knowledge in Iran since the distant past. Therefore, the reflection of the words and terms of this knowledge in the brightest cultural mirror of Iran, i.e. verse and prose literature, is not surprising, and writers, especially poets, have benefited from this knowledge in their compositions and from this knowledge, terms and concepts related to it in their creation. and the creation of imaginary themes and figures have been beneficial to the extent that the reference to medical knowledge is considered as one of the stylistic features of the sixth century poems. As a prominent poet of this style, Nizami has shown great interest in using the terms of medical knowledge. The present research aims to investigate and analyze medical knowledge and military art applications in reflecting this knowledge, with descriptive analytical method and using library studies and drawing a frequency diagram, it has researched about medical terms in Khamse. The results show that Nizami had extensive medical knowledge and was aware of the diseases of his age. He is familiar with the properties of various medicines and their effect on the treatment of patients and the way of treating diseases. Nizami has paid attention to both scientific and literary aspects in the use of medical terms.By using this knowledge innovatively and creatively and decorating it with various pictures and novel arrays, he has displayed his art.

Enthusiasts of Iranian culture and literature Subcontinental countries, etc. have always been in search of literary inspiration and a correct understanding of Persian Texts, they have been diligent in understanding them, and from their own and others' point of view, they have described works such as Ganjavi's Nezami Sharafnameh have been paid. In this article, the authors have emphasized the use of words, written morphology and grammar in the manuscripts of Ganjavi's Nezami Sharafnameh, using a library method. They describe them according to their linguistic and stylistic features. The results of this study, after briefly introducing the manuscripts of Sharafnameh's commentaries as scientific-literary texts, show that all the commentators have a good command of the Persian language in view of their geographical area, the Indian subcontinent, and explain the meanings and concepts in simple, comprehensible words and sentences. , explicit, clear and consistent with the standard language of India and even Iran at that time, they have directly transmitted. While writing in a simple way, they used Arabic and native words or the terms of literary techniques and...and avoided exaggeration and the use of synonyms In addition, in the written explanations, grammatical coordinates such as extra descriptive syntactic combinations, Arabic combinations and...are used and the prose has removed them from uniformity, so the style In terms of vocabulary and morphology, in the components of selection, invention and ...they are more in line with the features of Ghaznavid and Seljuk period (intermediate) prose, which indicates that their prose is scientific.

The history of literature is the history of intertextuality or a series of influences and effects. Meanwhile, the influence of prominent works on artists after them is more and more serious. In the same way, it is the influence that Nezami Ganjavi had on the poets after him. One of them is the great contemporary poet, Ahmed Shamlous. With the trick of "summoning and re-creating the character", Shamlou has called "Mahan Koshyar" from the seven military figures, dressed it in new clothes and played with creativity. The method of summoning and re-creating a character, which is conceptualized and named for the first time in this article, consists of taking a face from the works of others, and retrieving and re-creating it in a dynamic, active and meaningful character in a new context.
In fact, the new Mahan is the same as Ahmad Shamhou, and now, in addition to the former wandering and deception in Haft-Pikar, he has experienced existential loneliness, a sense of historical and ethnic impasse, philosophical despair and boredom, and a kind of pseudo-ideological wandering. For Shamlou, the Mahan issue is, as he stated, the fundamental issue of our century.

Eric Burn's theory of mutual behavior analysis provides an image of the psychological structure of personalities in alignment with the communication between people and their internal relationships. By the assistance of this practical theory and considering the deep connection between literature and psychology, it is possible to analyze the characters of the stories of ancient Persian literary texts. Examining these texts based on psychological theories can be the subject of many interdisciplinary researches. Researches like this show the capacity and capabilities of ancient literary texts. Eric Berne's model of mutual behavior analysis is based on the emotional states of "I" (child, parent, and adult). In this essay, the authors have studied the character of Bahram Gur in Ganjavi's Haft Pykar Nezami system in a descriptive-analytical way and using library sources, according to the key concepts (my moods, caresses, mental games, and the chain of relationships). The findings show that Bahram Gur has a dynamic personality and is in the state of "child" with the predominance of "adult" who grows and reaches perfection in the course of life and the process of events. In this system, verbal caresses have a higher frequency than other caresses. Bahram Gur is mostly present in the role of a savior in psychological games, and in the chain of mutual relationships, his connections in the Haft Gonbad and the visit of the Haft Mazloum are complementary and parallel.

In today’s interdisciplinary studies, assessing the relationship between literature and other sciences is highly beneficial in literary criticism. The psychoanalytic criticism is one of the pioneers of this phenomenon. This approach in the contemporary era has entered a new phase with the formation of new psychoanalytic cores in terms of psychoanalytic theories of love initiated by Robert Sternberg, who defines his analysis system based on the type of action of individuals in romantic relationships. He has developed efficient model in identifying the form of love in each person in this context. The objective here is to adopt a descriptive-analytical method to assess the love poem Khosrow va Shirin and Leili va Majnoon by Nezami Ganjavi with a comparative approach from Sternberg’s view and explain why the titles Eshq Nameh (love) and Havas Nameh (lust) are applied to the narration of Leili va Majnoon and Khosrow va Shirin. The results indicate that from Sternberg's point of view, perfect and holy love is a threefold relationship of commitment at the highest level and intimacy and passion at the lowest levels. In a narrative based on the failure of love in the direction of "ideal and perfect love" and its victorious hero is involved in "sad and romantic love", the type of relationship is based on lust the Havas Nameh and if the type of mutual love is of the "ideal love" type orientation, due to the priority of the commitment component, love is formed in its true meaning, the Eshq Nameh. The results here indicate that the element of commitment in Ganjavi’s self-consciousness has an operational structure and function in love-based relationships in terms of Robert Sternberg’s theory and cognitive psychoanalysis in the contemporary period.

Psychoanalysis is generally applied in exploring and analyzing of the mind’s functionality and psychological problems among people. The founder of psychoanalysis, Sigmund Freud, had a significant role in promoting literary studies. Among the theories of psychoanalysis, the category of love is one of the issues that have attracted researchers in the field of anthropology, especially psychologists, as an explanatory and fundamental subject in human life. In 1986, Robert Sternberg presented his first theory about love in "A Triangular Theory of Love" theory, in 1994; he re-evaluated the love triangle theory and developed the "love story" or "love as a story" theory.
The central element in Nezami’s narratives is the issue of love and its governing relationships. Two of his works, Leili va Majnoon and Khosrow va Shirin, have aspects of relationships that, above all, can be proposed and assessed in a comparative reading as a proper subject for this type of psychoanalytical analysis. Love is the principal theme in Nezami narratives. In his two significant narratives, his focus is on the clear border between love and lust. The objective here is to assess these two areas concerning the cognitive psychoanalysis of the contemporary period by relying on the data of psychoanalytical knowledge.

Method and Materials:

This research compares the type of love in the two narratives Khosrow va Shirin and Leili va Majnoon through the descriptive-analytical method.

According to the textual implications, passion is evident in all the stories as the most prominent component in the course of the characters’ affection. This component is more apparent in Khosrow va Shirin, especially in the course of Khosrow's love, followed by more elements of intimacy and commitment. The results indicate that Khosrow's love for Shirin was initially the type of love that only consists of passion, and there is no mention of the other two components. By enriching intimacy, Khosrow is placed in romantic love. Khosrow's love for Shirin is foolish, where experiences absurd love when dealing with Maryam; accordingly, in Shirin's personality, more than any other component, is at the first level, followed by intimacy and passion. Because the passion in Shirin evolves quickly next to intimacy and commitment, it can be deduced that love in Shirin, according to Sternberg's views, is the ideal and perfect love, while, the most explicit component of Farhad is his commitment, which appears to be mixed with elements related to intimacy and passion, thus, Farhad's love can be classified as ideal love. The findings here reveal that the frequency of love in the Khosrow va Shirin narrative is romantic love, complete love, foolish love, and empty love, respectively.

The tragic side of the narratives appears when the characters in whom the three elements of love have reached perfection and have experienced ideal love, though love turns out to be a failed experience. At the same time, Khosrow's character, according to Sternberg’s analytical principles, is devoid of the element of commitment and, based on the narrative, is the winning hero of the story. Leili va Majnoon is identified based on commitment, which is a two-way and mutual issue. Although Leili agrees to a forced marriage with Ibn Salam, a traditional marriage, according to the propositions of the text discussed earlier, she committedly insists on the love of Majnoon. Other elements of love are manifested in her existence to the extent of perfection. Because love in Leili and Majnoon is at the ideal love level, the bound between love and lust in Nezami’s narratives is somewhat bolder.
Another determining factor is the element of commitment that is from the perspective of cognitive psychology; a relationship that lacks commitment is practically empty of its perfection and can be defined within the boundaries of lust. Nezami names a story of love as “lustful”. From a cognitive point of view, if the type of love between the two sides is of the ideal love, based on the existential centrality of commitment, love is in its complete form.

This research investigates the themes and motifs of Ezri"s love in the story of Shirin, Farhad, Laili, and Majnoon. Its main issue is the answer to the question that the concepts and characteristics of excused love are similar in these two stories. In this way, they deserve to be reviewed and analyzed with each other.

In this essay, the writer aims to show the important components and characteristics of love for excuses by describing and analyzing these two love stories, and for this purpose he has used the descriptive-analytical method.

The results of the research show that Nizami was well familiar with the themes and motifs of Excuse Love and used its features to organize these two stories.

Based on this, the most important common romantic themes between the two stories are based on the characteristics of love for an excuse: the height of love in childhood and youth, scandal, attempts to connect, obstacles to connecting and inhibiting factors, travel and travel incidents, the lover"s reaction, The meeting of the lover and the beloved, the death of the lovers and the belief in connection in the other world is the end of the story and the construction of a dome for the lover and the beloved.