Analysis of Binary Oppositions in Mavali Tuni’s Divan

Mavali Tuni, a Khorasani and Shia poet of the Safavid era, lived in the late 9th century AH. His divan (poetry collection) encompasses advisory, religious, mystical, and romantic themes. Various methods exist to understand a poet and explore the deeper layers of their thoughts, one of which involves applying literary theories to analyze their texts and divan. The theory of binary oppositions, a key concept emphasized by structuralists in literary analysis, highlights the presence of opposing poles within linguistic systems. These poles complement each other, enabling the distinction between the positive and negative aspects of discourse. This study focuses on identifying opposing words and concepts in Mavali Tuni’s divan and examining the function of these binary oppositions to determine the intellectual framework underpinning his work. Data for this research were collected through library methods and analyzed using a descriptive-analytical approach, adopting a structuralist perspective. The binary oppositions in Mavali Tuni’s divan are categorized into lexical and conceptual oppositions, through which two systems—romantic and hypocritical—are identified. At the core of the romantic system stands the figure of the cupbearer (saqi), while the ascetic (zahed) represents the hypocritical system. Through binary oppositions, the poet explores religious, mystical, and even political structures, critiquing the hypocritical society of his time.

Binary oppositions are the most natural processes inherent in the essence of language (Ahmadi, 1991, p. 398). For this reason, humans use not only synonyms but also antonyms to describe and identify various phenomena. The term ‘binary oppositions’ comes from English. The word ‘binary’ in English denotes opposition, as seen in the term ‘Binary Stars’, which refers to stars that appear in pairs (Obeidiniya & Delaei Milan, 2009, p. 26). The foundation of philosophical thought and the basis of scientific ideas are built upon bipolar elements. In other words, human thought and intellect create an idea, which then gains identity and is perceived as a real entity. Darkness and light, Ahura and Ahriman, appearance and essence, this world and the hereafter, right and left, and so forth are examples of the earliest binary oppositions. “The belief in binary oppositions has led to the establishment of a hierarchical system, resulting in the superiority of presence over absence and their differentiation” (Ahmadi, 1991, p. 384). In this study, binary oppositions are examined in two main categories: lexical and conceptual. However, it should be noted that “the theory of binary oppositions is one of the most significant theories that structuralists consider a fundamental component of language, serving as a means to achieve meaning” (Talebian & Hosseini-Sarvari, 2009, p. 24).

The binary oppositions in Mavali Tuni’s divan are divided into two categories: lexical and conceptual. Since binary oppositions are fundamentally rooted in meaning and concept, conceptual oppositions are far more prevalent in his divan. Lexical oppositions are examined in three subcategories: personal, spatial, and temporal, with the highest percentage occurring at the personal level. Among personal oppositions, the contrast between the ‘ascetic (zahed)’ and the ‘cupbearer (saqi)’ is the most significant and frequently used element. At the spatial level, the opposition between the ‘monastery (sowma’a)’ and the ‘tavern (meykhane)’ is the most prominent, closely tied to personal oppositions, as the monastery is associated with the ascetic’s actions, and the tavern with the cupbearer’s. Regarding temporal oppositions, the contrasting times in his divan are tangible and easily comprehensible to the reader. For instance, the opposition between day and night, which has the highest frequency in his divan, is clear and perceptible to all. One of the most significant conceptual oppositions in Mavali’s divan is the contrast between the ‘beauty of the beloved’ and ‘superficial beauties’. In other words, Mavali’s primary aim through this opposition is to emphasize the superiority of love and the beloved.

Overall, in his divan, Mavali juxtaposes opposing characters, times, and places to distinguish the romantic system from the ascetic and hypocritical system, asserting that nothing but love is enduring and eternal. He suggests that every individual must find their true beloved and intertwine their life with everlasting love.