khaqani

One of the most important issues that a critic of ancient poetic texts faces is the identification of the authentic poems of a poet and the differentiation of these from the poems attributed to them, as well as determining the true author of these poems as much as possible. The carelessness of scribes, the application of poetic taste, and their subjective biases are factors contributing to this confusion. Additionally, sometimes the similarity or identity of the names of Mamdouh (The greatness about whom the poet writes poetry) can lead to such confusion. At times, a poet’s name or pen name is the same as another’s, which results in one poet’s work being included in another’s collection. Among the poets whose works have been mixed are Sharaf al-Din Shafarvah Esfahani and Khaqani Shervani. In this article, based on extratextual information such as anthologies, biographical dictionaries, historical sources and intratextual information, the differentiation of these poems and the identification of their true authors have been addressed, along with the reasons for this confusion. Sharaf al-Din has paid attention to his contemporary poet Khaqani, which can be seen in the images, metaphors and specific phrases shared by these two poets. In a poem that he composed following Khaqani, Shafarvah even incorporated a line from him and claimed superiority over him.

One of the most important research tools in ancient texts is having valid and strong manuscripts. Access to these manuscripts is the dream of most scholars of these texts. In this article, an attempt has been made to introduce a valid manuscript from Khaqani's Divan. This copy, number 439, is kept in the Lala Ismail Library in Turkey. It is clear from the signs in it that it was probably written in the second half of the eighth century (or at most the first half of the ninth century). To show the value of this version, after dealing with the correctness of the characters of this work against the distortions and corrections made to the text of printed Divans, another of the most valuable features of this manuscript are mentioned. That is the titles of the poems. In this regard, as a prelude to the first poem that Khaqani recited at the court of Shervan, we have presented and provided new information about "Abu al-'Ala Ganjavi" and have shown some false information about him from which manuscripts originated? At each stage, we have tried to justify our arguments, far from the usual celebrations, by relying on the knowledge that Khaqani and the old and strong manuscripts provide us.

The western regions of the Caspian Sea have been the base of Christianity in Iran for centuries. In this religion, music is used in religious ceremonies, both in the form of instruments and songs, and it is a long-standing practice in Christian churches. Khaqani Shervani, due to his birth and upbringing in this region of ancient Iran and his contact with Christians, as well as his remarkable knowledge of theoretical and practical music, was able to become deeply familiar with the type of church music. In this article, by raising the question of to what extent Khaqani was exposed to church music and what his level of knowledge of church music was, his poetic and prose works were examined in the context of historical studies, alongside sources related to church music in the land of Aran, and the criteria for this connection were discovered and proposed. It appears that Khaqani at least knew the performance components of church music. He reflects this well in his introduction of the instrumental system of church music and the way of singing church hymns in his works. He does not mention the texts of Christian hymns in his works and does not mention Christian musicians who are considered to be church authorities, but the absence of these topics cannot certainly be considered a reason for his lack of awareness and lack of communication, because not every available data appears in the poet’s poetry and prose.

Before Attar, various poets and writers attempted to compose works on the language of birds. The vast majority of these works were composed around the late fifth to early seventh centuries, and despite the many commonalities that the composition of this type of work requires, there are also obvious differences among them. One of these differences is the difference in the way of symbolizing birds. In this study, the Risale-i-Tayr of Khaqani, Sana'i of Ghaznavi, and Najm al-Din Razi are compared with each other from the perspective of symbolizing birds because differences were observed in the method of presentation, the final goal, and their descriptions that made them susceptible to being compared in the present study. This study has found out how the difference in the perspective and purpose of composing these works ultimately led to the difference in the symbolizing of birds. Khaqani's Risale-i-Tayr contains unique descriptions and leads to the praise of the Prophet (Mohammad). Sanai, with the focus on monotheism, depicts the scene of bird worship, and Najm al-Din Razi wrote the praise of the then minister through the language of birds. That is, the style of each poet also has an important characteristic in the uniqueness of his language of birds, which has been reviewed in this research.

Khaqani is one of the poets of Persian literature whose poems are difficult to read. The difficulty of his poems had subjected them to many distortions in diction (called Tas’hif in Persian) with the aim of making them simpler. One of the sources of difficulty in Khaqani’s poetry is his artistry in making use of the characteristics of Persian writing system. This is known as pun or ambiguity of distortion or “Iham-e Tashif” in Persian, a figure of speech in which the audience’s mind is directed toward the second meaning of a word in the poem but that meaning is absent from the line while it only establishes a horizontal connection with one or two other words in the line. This figure of speech creates a difficult semantic situation in the poem. The commentators of the verses have also had problems in correcting and explaining the poems. By carefully consulting different manuscripts and studying the meaning of the poems, one can understand the correct form of the distorted words. Therefore, through a careful examination of some of Khaqani’s poems, the researchers were able to find out that the words “oshtad” and “banat” have been incorrectly changed into the words “ostad” and “nabat” which create some problems in the meaning of the poems, too.

Khaghani, this self-confident singer does not consider anyone worthy of competition among his contemporaries. And he says: "I have a conflict with our predecessors." Therefore, he challenges the king of Arab poets, Junduh bin Hujr al-Kindi, known as Imru' al-Qais, to fight. He challenges"Qefa Nabak" poetry. It is clear that the examination of such a claim should be done in the Arabic poems of Khaqani, this bilingual singer. So, in this research, in order to gain a new understanding of the character of the two poets, we will use the French method of comparative literature to evaluate Khaqani's "Bakt-e-Rabba" and "Qefa Nabak" of Amrual-Qis. And we try to answer this question, how can Khaqani's view be evaluated in dealing with the poem "Qefa Nabak"? In order to get the answer to the above question, one should first explore the weight, rhyme, language and vocabulary in the upper layer. Then, in the infrastructure, crying over atlal and daman, its time and place in the sorrow of the singers, how to deal with the place and why, the style of each poet in self-praise, the singers' attitude towards morning and night, and finally, the connection between Khaqani and Amrualqis with the phenomenon. We have checked.

Informed by Henri Lefebvre’s “Production of Space” theory, this study aims to explore Khaqani’s representation of prison in his “Prison Poems” in the light of the perceived, imagined, and lived space dialectics. This research adopts a descriptive-analytical approach and employs library sources. The results of this study show that in the perceived space, the poet, informed by phenomenological and critical perspectives, reinterprets the material space of the prison by confronting the veil and recognising the implicit mechanisms of power; in the imagined space, echoing the prescriptive knowledge of the discourse of power, the poet, as the subject, adopts a forced understanding of the space, which reveals the power and role of other groups in Khaqani’s imprisonment; in the lived space, the poet, echoing an implicit resistance against the discourse of power, employs his imagination and poeticity to create a different space within the realm of possibilities, which has no material correlation with the real prison but only adds a utopian meaning. This study concludes that the material space of the prison, the imprisoned poet as an active subject, and the discourse of power affect the ambience of Khaqani’s “Prison Poems.”   

The topic of the present research is Analysis of the grammatical role of the identical rhyme verbs with the creative theme and making metaphors in Khaqani's poems. The purpose of this research is to explain one of the unknown capacities of the identical rhyme, to present a methodical and adaptable model to the poems with current identical rhymes identical rhymes in connection with the correct understanding of the poetic themes and to determine the most central theme of their verses. Acquaintance with one of the unknown capacities of the identical rhyme, understanding the role of the row in the creative theme and the role of the current identical rhyme in making metaphors is another goal of this research, and in this regard, it tries to answer the following questions:1- What is the role of the grammatical position of the row in creating metaphors, inducing concepts and creating themes? 2- How can one identify the most central topic in the verses by knowing the grammatical role of the lines of poetry? The statistical population includes all of Khaqani's poems with identical rhyme and the sample volume of poems has current identical rhymes. The data has been collected in a library and document analysis and the results have been analyzed using the content analysis technique. The results show that it is easily possible to know the poet's ability in creating poetic images, creating themes, and determining the most central theme of each verse and its core, and knowing the poet's ability to make metaphors with this model.

 

There is no doubt that Bahtari and Khaqani are among the most prominent and famous poets of the Arabic and Persian languages, and there is no doubt that the two poems of Siniye Bahtari and Ivan Madain Khaqani are among the most famous poems in Arabic and Persian, so for A detailed understanding of the thought and reflection of the thinking, creativity and ability of those two great poets requires a detailed examination of these two odes, without comparison, it is not possible to achieve this goal, therefore, in this article, the comparison of these two outstanding works is discussed, so that dear readers , get to know and benefit from the beauty of these two poems and the performances of these two poets.

In this article, in addition to a fresher and more accurate look at the comparison method, it is also a library method and reference to written works, especially the books and descriptions written on these two odes. But apart from the written works, the thoughts of the honorable professors that I have benefited from during my studies have also been used

By comparing these two famous odes and expressing the differences, similarities, degrees and degrees of the two, we get to know the thought, language and expression of these two powerful poets, each of whom is one of the leaders in his own language, because what In the poetry of these two poets, in addition to expressing feelings and emotions, it is also a reflection of the history, philosophy, vision and attitude of these two.

By studying and comparing two odes, we find that both poets express their main message with a lively description, which is the greatness and greatness of the Sassanids and the instability of the world, and they want to learn from it.

This article examines the views of two poets, Abū al-ʿAlāʾ al-Maʿarrī and Khāqāni Shervani, towards women. Abū al-ʿAlā was a blind poet known for his pessimism, which led to his anger towards material life and its people, particularly women. In contrast, Khāqāni, a Persian poet recognized for the complexity of his lyrics and hidden meanings, is also noted for his pessimism; some researchers consider him one of the most pessimistic Persian poets regarding women. The issue of women occupies a central place in the poetry of both poets. Despite their negative views, they attribute significant positive roles to women, especially as mothers, elevating them from a state of inferiority to one filled with passion, love, and sublime spiritual feelings. This article aims to reveal the portrayal of women in the poetry of Al-Maʿarrī and Khaqani. This distinctive topic is central to their work and has been explored through a descriptive-analytical approach. The article follows the American School of Comparative Literature, seeking to identify similarities and differences in how both poets view women as mothers, daughters, wives, and lovers. It highlights the private and public motivations that have shaped their often hostile perspectives towards women. The conclusion suggests that both poets do not harbor hostility towards mothers; rather, they see them as sanctuaries providing comfort. However, regarding daughters, both express relief at their burial or death, albeit for different reasons. Overall, the lyrical themes in both poets' works are somewhat limited by their reliance on traditional meanings. The poetic landscape during their time did not allow for new interpretations; however, Khāqāni appears to have drawn more from lyrical meanings compared to Al-Maʿarrī.

Khaqani’s poem comprises a significant quantity of detailed descriptions, beautiful images, and highly complex points to understand due to the combination of his poetry with the old sciences such as medicine, astronomy, references to Quran and Hadith, rhetorical techniques, etc. In spite of the existence of valuable studies in explaining the much more complicated aspects of his poems, some parts of his poems are in need to accurate explanation. The reasons behind this phenomenon are the use of new metaphors and strange metonymies. Special attention has been paid to music by Khaqani as one of the ancient sciences and, therefore, there is an immense number of musical terms and interpretations. A more detailed investigation of the music system and its expressions in his poems can put an end to the ambiguities in some distiches. Since the music used in the past was only live music and the audiences were observing the musicians and their instruments, the attention to the musical features of the instruments was singinifcantly higher in comparison with today. Furthermore, the poets were able to create many themes referring to the instruments. "Mezmar" and "Ney" are among the instruments that have been addressed by Khaqani and the commentators have taken these instruments as one, due to the lack of enough familiarity with music. "Mezmar" has another meaning which reveals itself after a closer examination. The present study tries to reinvestigate "Mezmar" and "ney" via using intratextual and extratextual factors in his work and discusses two points and, finally, suggests a more precise meaning to the related verses.

Imagination is a special use of language that the geographical environment, political, social, religious, historical, individual spirit, and the like are influential factors in the use of all kinds of imagery in poetry. One of the most obvious elements used by the poets of Persian literature in expressing themes and imagery is religious elements. The present article analyzes and compares the function of religious elements in the poetic images of Nasser Khosrow's, Sanai's and Khaghani's poems.

This article was done by descriptive-analytical method and the method of collecting information was library.

Quranic and religious themes and moral and religious teachings have been used many times to create rhetorical images in poets' poems. Apparently, Khaqani has more initiative and innovation in creating images based on Quranic concepts and in the form of innovative simile, metaphor and irony combinations. Naser Khosrow's poetic images also have a very deep connection with the principles of Ismailia religion and this religion has had a great impact on the type and genre of images. Sana'i, however, has brought the use of religious elements in the creation of poetic images closer to the atmosphere of mysticism and Sufism and has a mystical understanding of religion.

Religious elements in the minds of these three poets have been manifested in three specific aspects: in Nasser Khosrow, religious concepts have two prominent aspects; One philosophical and rational aspect and the other legislative and religious aspect. But the religious concepts in Sana'i's mind are the result of the entanglement of several dimensions, on the one hand, a philosophical view of its Islamic type, on the other hand, the religious dimension of Sana'i, which does not give much importance to interpretation, and the third dimension is the emotional dimension, which reaches its peak with making love to God. . In Khaqani's depictions based on religious elements, the proper place of Sharia thoughts is observed in the images, and the value and sanctity of Sharia foundations are preserved in the pictorial connections. However, sometimes a kind of contradiction and inconsistency can be seen between some images.

Khāqāni’s poetry stands out in Persian poetry for its abundance of images, interpretations and concepts which makes his poems difficult to understand and  explain. Though, there have been valuable researches explaining the much more complicated aspects of the poems of this renowned Persian poet, there are still a great number of expressions and interpretations in his poems which have not been understood accurately. The hypothesis behind the present study is that part of the difficulty in understanding Khāqāni’s poetry is the phenomenon of linguistic interference. As one of the consequences of bilingualism, linguistic interferences refers to the (unconscious) influence of the speaker's mother tongue on her/his second language. It also includes the presence of regional beliefs and cultural characteristics in the speaker's speech and writing in second language. Based on the aforementioned hypothesis, the present study focuses on words, sentences, interpretations and idioms in Khāqāni’s poetry which could be understood only by considering their Turkish counterpart. Considering that Khāqāni is from Azerbaijan, and his poetry is written in Persian; there have been many historical discussions about the language of Azerbaijan in his time (12 AD). Away from such considerations, this study solely focuses on his own text to investigate the complications and problems in Khāqāni’s poetry, some of which are due to the poet's linguistic interference.

The Monsha't of Khaqani Shervani (520-595 A.H), is a collection of his letters to the governors, scientists and acquaintances written with an esthetic and technical prose. These letters are of importance regarding literal, social and artistic aspects, so that studying them closely would be of great necessity. These letters can be used as some of the main references in "Khaghani Shenasi" as well as the sociology of the poet's era. Monsha'at provides us with beautiful aspects of 6th century A.H technical prose composed in utmost beauty, arrangement and sophistication, presented in the form of a letter. Some of his letters are "Del-Neveshteha" (written from the heart) which provide us with great amounts of information about the author himself and the social condition in which he has lived. This paper aims at manifesting the importance and the value ofMonsha'at as a vivid example of the art of a capable poet writing prose. This is done to remind Khaqani researchers about Monsha'at and its importance in helping the process of the studies.

The present study investigates how to conceptualize satire and slander in the language of two prominent poets of Persian and Arabic literature based on the theory of conceptual metaphor. Metaphorical examination of the concept of satire can certainly have a significant function in understanding poets from a psychological point of view, and in a broader form, the effects of this metaphor can also express the cultural issues of those societies and their social conditions. The comparative study of this issue based on the theory of conceptual metaphor has an essential contribution to entering the mental world of Khaqani and Motanabi and knowing thoughts and emotions as well as their similarities and differences. The research method in this article is a library, and the data has been analyzed using the content analysis method. In the end, the differences and similarities between both poets have been shown in a diagram. The research findings show:The source areas used in the language of the two poets are almost the same.The most source area used in the language of both poets is related to the use of animal names.The second source area used in Khaqani language is related to his use of verbal expressions, but the second group of source areas that clearly shows itself in the textual language is his use of the words taboo and abstinence, and the findings of Others are described in detail in the text. It is hoped that this research will help better to understand the thoughts and emotions of both poets

The famous ode of “Tarsaeiyeh” contains a verse that has puzzled the commentators and proofreaders of Khaqani's collection of poems. The main complexity of the verse in question is the reference that "kissing the church bell" has the ironic meaning of becoming an infidel and leaving the religion of Islam. The main problem in Khaqani's verse is that "kissing the church bell" does not occur in any of the old texts, and unlike kissing the crucifix, "kissing the church bell" was never widespread in Christianity; In addition to the various statements of the commentators of Khaqani's collection of poems, two detailed articles have exclusively dealt with this topic; the first article is about the proposal to correct "Kissing the church bell" to "Drinking the church bell" and the second defends the authenticity of the recording of "kissing the church bell" and rejects the first article. Of course, there is no authentic textual evidence for "kissing the church bell" and "drinking the church bell" in either article. In this study, based on some evidence from Khaqani's collection of poems and other works of Persian literature, it is shown that "I kiss the church bell" in Persian (ناقوس بوسم) in Khaqani's collection of poems is the result of a pun on the "I knock the church bell "in Persian (ناقوس کوبم). In the old spelling, sometimes the writers did not put the stroke of "ک" and "گ"; so the phonemes were easily converted to "ب" and "ت" etc. In another part of the article, "the bell of Magi " is explained and shown that, in Zoroastrian, "the striking of the mortar," was considered as a call to prayer and a sign of invitation to participate in religious ceremonies. Thus, by assigning the bell to Magi, no heresy has taken place, and only the conversion of a proper noun into a common noun has occurred.

The aim of this study is to identify the functions of satire and the different reasons and motives for using it in the poetry of Khaqani and Mujir al-Din Baylaqani, as well as to analyze the artistic, rhetorical and literary techniques used in their satiric works. Satire as a subgenre of lyrical poetry has existed in Iranian literature from ancient times and many poets have experienced with writing it. This literary genre has special characteristics. Knowing these characteristics helps us in better understanding the structure and the literary value of the work. Satire exists in the literature of all countries to some extent and is always a controversial issue; however, in the literature of some nations, as a result of the dominance of ethical criticism in the society, satire has not received due attention. Nevertheless, the study of its reasons and factors can be significant from psychological and sociological perspectives (Parsa, 2012).Reciprocating satire is one of the characteristics of the poetry of the 6th century (AH) in Iran. in other words, in the satiric works of this period, the individual who is being satirized can be identified, for example, in the reciprocating satires of Abol-Alaye Ganjavi and Khaqani, or the reciprocating satires of Khaqani and Rashid al-Din Vatvat, or more importantly, the reciprocating satires of Khaqani and Mujir al-Din Baylaqani (Mirsadeqi, 1994: 303).Mujir al-Din Baylaqani was a student of Khaqani who disrespected his teacher; much like Khaqani himself who did not show a respectful attitude toward his teacher, Abol-Ala. Mujir has written satires about Khaqani in the form of odes and quatrains to answer some of the reproaches of his teacher.

Due to the abundance of words and combinations and various information in Khaqani's poetry, there have been many errors and misreadings, and some of these interpretations have remained hidden from the commentators and correctors of Khaqani's court even to this day. One of these interesting spellings has occurred in the verse "As this bride is from the skin of Khurram/ As gold was the elemental Khurramvan", the author proposed to correct the analogy of the first stanza in the form of "As Ibn Ars is from the skin of Khorram". has done. "Ibn Ars" is a word that means weasel, and as shown in this article, it is one of the animals that, according to the information obtained from some ancient animal books, was very interested in jewelry, especially dinar and dirham coins, and collected They have found pleasure. In this research, a brief review and analysis of this interpretation in Khaghani's Court has been done.

Khaqani is a self-congratulatory poet; So that you can hardly find a poem where he did not talk about his superiority. One of the reasons for Khaqani's self-praise is the inferiority complex. In the past, the social and economic level of the family was effective in determining the position of people in the society. Since Khaqani did not have a rich family, he has been neglected; Therefore, one of the reasons for his narcissism is his inferiority complex. . Another reason is the existence of rivals who spoke ill of the poet, as a result, the poet had to express his merits. Conceptual metaphor theory, which started with Lakoff and Johnson's opinions, proved that metaphor is also seen in thinking.  The conceptual system based on which we think and act has a metaphorical nature. In the traditional approach, they look at metaphor as a decorative tool, but in the new approach, they look at metaphor as a translinguistic tool that is not only in language; Rather, it is current in human thought and action. Therefore, in the new approach, metaphor is not an aesthetic tool for poets and writers; Rather, all people use it in their daily speech. According to the cognitive linguistic theory of metaphor, in metaphor, we understand one conceptual domain through another conceptual domain; That is, we use the tangible domain to objectify the abstract domain. According to the cognitive linguistic theory of metaphor, many abstract concepts have a metaphorical structure, although they may not be revealed at the level of language. Despite this, metaphors dominate the concepts. Metaphor in its cognitive sense is a bridge to understand abstract or less tangible concepts. Lakoff and Johnson have divided metaphors into three types: 1. Ontological metaphors: existential metaphors are metaphors in which abstract concepts are considered as an entity. 2. Structural metaphor is one concept is organized in the framework of another concept. 3. Directional metaphor is a type of conceptual metaphor in which concepts are conceptualized based on physical directions.The living environment, life events, experience, culture, etc. have an impact on human thoughts and feelings and are reflected in his words; Therefore, by studying the works of a poet or writer, one can reach the thoughts of that poet or writer. In this research, which was carried out in a descriptive-analytical way, while introducing the theory of conceptual metaphor, metaphorical maps related to self-praise were extracted. To objectify the concepts related to self-praise, the poet has used the concepts of the following areas in order of frequency: Concepts of family and social system (31 items), kingdom (19 items), nature (16 items), religion area (15 items), Astronomy field (4 cases), medical field (4 cases), professional field (4 cases) and.

Mantiq Al-Tir Khaqani's ode is one of the brilliant examples of Persian literature. This ode is also one of the remarkable examples of the language and journey of the birds. A number of birds have gathered in the spring season and each one is praising a flower and arguing about the superiority of the flower in question. In this research, we have tried to examine this ode from a new angle based on the theory of intertextuality and with a descriptive-analytical approach and relying on documentary studies. The theory of intertextuality is one of the methods of examining the text, which was formed by Julia Kristeva, under the influence of the theory of conversational logic of Mikhail Bakhtin. The basis of this theory is that it explains the meaning of the text based on the conversation and interaction with other texts before and after it; Because meaning is the result of conversation and conversation has different ways. The findings of this research show that this text (ode) is the meeting place of various discourses, including musical, mystical-philosophical, epic, religious, historical and literary. All these discourses have been involved in the formation of this text (ode) like pieces of a puzzle, and finally they have all reached unity in the form of poetry.