نشریه تحقیقات تمثیلی در زبان و ادب فارسی
پیاپی 50 (زمستان 1400)

In Masnavi, Rumi has repeatedly tried to enlighten the minds of his audience to epistemological issues with mystical allusions, and by mentioning allegory and storytelling, he has raised the perceptual level of the companions and companions of Masnavi. By delving into the narrative allegories of Masnavi, one can find and hide mystical hints that their reflection and semantic expansion at the narrative levels, ultimately paves the way for unity and oneness in Masnavi. This unifying attitude and effect on mystical allusions has escaped the scrutiny of many scholars and narrators. This research has been written by library and descriptive study method and tries to show the role of Rumi's mystical allusions in the processing of narrative allegories based on the narratives of the fourth, fifth and sixth books of the spiritual Masnavi. In this research, by deepening and using the narrative allegories of Masnavi, the relationship between superstructure and depth of allegories as well as the method of processing mystical materials in four types (allusions, themes, examples and internal stories) was revealed. Finally, the role of mystical allusions in two levels of narrative allegory (superstructure and deep construction) entitled "symbol", "guidebook" and also the semantic connection between narrative levels were examined. Familiarity with the method of processing mystical material and examining the semantic link at narrative levels is one of the research results of the present article. This research can be considered as a step towards understanding the structure and content of Masnavi narrative allegories.

As an educational technique, allegory is one of the most widely used types of Persian literature symbolism used by Iranian mystical poets to lead human beings towards Transcendent goals. Rumi has also utilized such a method in Masnavi in an artistic manner in order to allegorize a large part of Masnavi. Accordingly, the main structure of this article revolves around two goals: first, to determine the extent to which Rumi has employed allegory in his Masnavi; and second, to determine the method of expressing such a trick to convince his audience. To achieve these two goals, Rumi's poems have been studied in six books of the spiritual Masnavi.Accordingly, we have analyzed Masnavi text in terms of the type of allegories used in it as well as their characteristics, the techniques they have been used in the text. The current research has adopted a descriptive-analytical approach to answer the basic questions: (1) To what extent has Rumi used such methods as punishment, evangelism, and warning? (2) Has he used reminders, reasoning and boasting as educational teachings in Masnavi? And (3) To what extent has he been successful in convincing his audience in these ways?

Hasht Ketab or Eight books is the name of Sohrab Sepehri's collection of poems, which includes the poems “The Death of Color”, “Life of Dreams”, “Debris of the Sun”, “East of Sorrow”, “Sound of Water foot”, “Traveler”, “Green Volume” and “We Have No Look”. Allegory is one of the stylistic devices that shows itself in new poetry, including in the poetry of Sohrab Sepehri, and it is one of the factors that make the poetry dynamic and imaginary. After studying, the researcher realized the application of the meaning of water to different concepts in Sepehri's poetry, which is one of the reasons for the necessity and importance of its study. The researcher has studied the texts of Sepehri's poems with the aim of finding allegorical relations with the subject of water, springs, ponds and vortices that among his collection of poems, he found a number of poems in which the poet looked at water from an allegorical point of view. In this research, the researcher wants to know: Has allegory been used in Sohrab Sepehri's poetry? What kind of allegories are used? What was the poet's purpose in using the allegory? In reviewing the literature of this research, the researcher realized that this research is different from the other researches have been done in this area, so she paid attention to it. In this process, the researcher achieved the following results the use of water in Sohrab Sepehri's poetry has been used in the sense of peace, soul, consciousness, spirituality, comfort, renewal and dynamism and movement, mind and thought, beauty and the passing of time. This research has been done by library method and by taking notes and in analytical-descriptive method. It has also used first-hand books and articles to understand the concept of allegory and how to recognize it in Sepehri's poetry.

One of the most important features that are considered in the stylistics of prose is the illustrative elements and the extent of its use in prose texts. Allegory, in particular, is significant because of the effect that it has on the attractiveness of speech. Through reading Bayhaqi's History (Tarikh-e Beyhaqi), this study, which has used an analytical-descriptive approach and is based on library sources, aims to investigate the key strategies of Beyhaqi in the way of expressing allegory. The prose of Bayhaqi's History is intermediate and the study of the techniques of using allegory is also effective in understanding the course of the transmission of the style of its epoch. This article has been written with the general aim of presenting the characteristics of allegory and the methods of its application in Bayhaqi's History. Particularly it seeks to clarify the place of allegory in Bayhaqi's History as well as the method, quality and scale used in the application of allegory. It is worth mentioning that no prior research has been done on the quality of allegory in Bayhaqi's History. The discussion addresses the retrieval of allegories from the Bayhaqi's History, as well as analysis of how it is interpreted and the statistical significance of each allegory. Meanwhile, allegory is often embellished with a literary quality in the form of poetic adjectives, which is not seen in other contemporary Beyhaqi texts. Also, the sublime meaning of Beyhaqi's speech sometimes reaches a degree of wisdom that can be turned into a magnificent allegory without the use of any illustration techniques. Under the heading of "sublime meaning," these cases were investigated. Often it is seen that Beyhaqi's speech is reminiscent of the poems and words of previous poets before and after him so that the mind familiar with the other text, instinctively understands it. In the meantime, Saadi's words are recalled more than others in Bayhaqi's History.

Narrative studies from the structuralist point of view studies the nature, form and role of narrative and tries to show the ability and understanding of the text of the narrative. The longevity of the structure has retained its freshness and freshness in allegorical narratives. The purpose of this study is to show what has caused the allegory in the spiritual Masnavi, in the place of a normal type of narrative, to become a prominent and special literary type of Rumi? This descriptive-analytical method and by examining a number of allegorical narratives of Rumi's works, seeks to answer the main question: what are the characteristics of the structure of allegorical narratives in the spiritual Masnavi that has caused the transformation of this fictional art to evolution and maturity Reach? Based on this research, it is clear that in addition to creating ambiguity of allegory, other factors have also played a significant role in perpetuating the structure of allegorical narratives as Rumi's popular literary genre; These factors are: moment expansion through internal story, creating parallel stories, alternative story structure, incident pattern in allegorical narratives, structural duality and synonymy of literary genres. The great mystic has also been revealed.The authors of this study have found Masnavi allegories in the position of a kind of narratives, based on a more coherent structure of narrative rules and regulations, which shows Rumi's maturity and mastery in allegorical narrations.

Allegory, which is one of the indirect ways of expressing the meanings and thoughts of the poet, makes speech more artistic and speech more effective. Due to the importance of this issue, rhetoricians have presented different opinions and comments in rhetorical and expressive books in defining and interpreting it. Symbols and allegories, however, have been common in classical Persian literature, especially mystical literature; But modern contemporary poets have paid more and more attention to it, so that the current of symbolism is known as the richest branch of contemporary poetry. Shafi'i Kadkani is one of the contemporary poets who has used many allegories in his poems with a social and human approach. In this research, the author seeks to study and explain the place of allegory in Shafi'i Kadkani poetry and his symbolic method in a descriptive-analytical and library method and to answer the question of what is the structure of Shafi'i Kodkani allegories? From the study of Shafiee's poems, it results that Shafi'i, using descriptive narration in the structure of his allegories and using short and coherent images instead of choosing long and cropped images, has pursued a personal style and has tended more to symbolic allegory. Among the allegories used in his poetry, the manifestations of nature and descriptive narration have the highest frequency.

Allegory is one of the most important topics in old and new rhetoric, which is structurally divided into short or concise allegory and wide allegory. In compact and descriptive allegory, the most important types of which are allegorical allegory, allegorical metaphor, parable and equation style, it does not exceed one or more sentences and has a special place in the poems of ancient poets. But so far a complete and separate research. Compact allegory and its types have not been written in Hafez's sonnets. It seeks to answer questions such as: What is the use of compact allegory in Hafez's lyric poems and what types of compact allegory are most used? Hafez's concise allegories are more of an allegorical metaphor, an equation style, and a parable, and allegorical allegory is very rarely used.