Different Types of Ambiguity in Amir Khosrow Dehlavi’s Noh Sepehr

Amir Khosrow Dehlavi is an influential poet in the history of Persian language and literature, who has emerged as a capable representative of the Persian language and culture in the land of India. His various works are filled with delicate, valuable artistic and literary techniques, identification of which is of great importance for a correct understanding of the literary background of Persian. As a dependable pioneer in literary criticism and rhetoric, he has employed literary techniques properly in speech. Ambiguity is one of the most prominent effective techniques in his works, which helps the addressee to perceive more than one meaning from the discourse through implication of close and distant senses. One of his valuable, lesser-known works is his masnavi (‘a poetic form’) Noh Sepehr (‘nine skies’), composed in 718 AH. Many of the verses in this work contain artistic delicacies in terms of ambiguity, where the familiar addressee recognizes a wide network of polysemous words by paying close attention to the ambiguous structures. In this descriptive-analytical research, an attempt was made to answer the question of what is included in the most important types of ambiguity in Amir Khosrow Dehlavi’s Noh Sepehr.