Criticism and analysis of rhetorical beauty in the mystical language of Bahavalads Maaref

What is known as mystical literature today is the literature that was formed based on the teachings of Islamic Sufism. The first representatives of Sufism were identified with the works of later periods. "Noya" considered the entry of Qur'anic interpretation into the world of Sufism, coinciding with the formation of mystical teachings and causing the emergence of Sufi technical terms (Noya, 1994: 132). Sufis wrote educational and propaganda books to propagate their religion. The penetration of mystical thought into existence and man and his behavior among the interested people, especially from the fifth century of Hijri, produced many works. The main issue of this research is the analysis and investigation of Maaref as one of the most indicative mystical works of the mentioned period from the literary aesthetics point of view. The main question of the research is how the beautiful aspects of the mystical language were manifested in the Maaref of Bahavalad.

  This is a research at the theoretical level with the library study method and relying on the analytical method. The focus of the research is the rhetorical features in the text of Bahavalads Maaref.

Prose writers, especially the Sufis of the era, have given great importance to the beauty of their prose, and the effects of beauty have appeared more in Sufi prose, and this has led to the emergence of technical prose (Gholamrazai, 2009: 381). The characteristics of aesthetics in the Maaref of Bahavalad are: the frequency of similes in the words of Bahavalads Maaref is more than symbols and metaphors. Metaphor is the basis of language, the creator of meaning and a necessity of style to enhance and decorate words. The metaphors of Maaref are in the field of plants and growth. The frequency of diagnosis has also been a place of attention and it is a means of expressing situations, understanding themes and understanding it by people.Bahavalad has sometimes used irony as required by the word; Reflecting on the entire text, we will find that metaphore is rarely used. And in addition to the use of popular words, Bahavalad has acted widely in the use of popular examples; Example: "Firstcoarse then soft" (2/78). By the method of quoting and describing the behavior and speech of religious figures, Bahavalad has used mystical themes as required; Example: "As Ezra and Wamiq are" (1/229), "Adam and Eve" (ibid., 1/229), "Jalinos" (1/303), "I said, is my ego like Abulahab that it burns me like this" (1/62). Diversity is seen in the use of opposite and mutual words in Maaref. Bahavalad symbolically used four ducks, roosters, peacocks and ravens in a cage to show the negative aspects of the ego (221/1). The elements of balance and music of speech are things like repetition, phonetic arrangement, punctuation, which have provided the means for the melodiousness of Maaref.

With a romantic attitude and mystical language, Bahavalad expresses his ideas simply and fluently behind everyday events. Imaginations in his words replace scientific terms. The beauty of Maaref style is: conversational nature and the influence of linguistic factors of the environment and the age of the author and the oratory nature of the text - which is specific to educational language in assemblies. Bahavalad's Maaref style is similar to Khorasani style. The metaphorical nature of mystical language is evident in education, which is related to the field of agriculture and plants. The original spiritual arrays and the categories of the science of meanings and the subjects of the science of expression have made his speech melodious. Mystical concepts and themes are expressed indirectly with allegory and code. Folk proverbs and sometimes superstitions are reflected in the text.