پژوهشنامه متون ادبی دوره عراقی
سال سوم شماره 1 (بهار 1401)

The simultaneous use of several aesthetic elements in speech is a phenomenon that has a long history in the Persian language it is mentioned with these titles "Conflict of images", "Disturbing images" and .... This is considered inappropriate and reduces the originality of the poem because it increases the volume of the images in the text beyond its linguistic capacities, but in Hafez's poetry, many verses can be found in which, despite the simultaneous use of several rhetorical elements in illustration, not only has there not been a conflict of images; Rather, due to the convergence of the images, the meaning of the multi-layered bit and its beauty and imagination have increased In addition, two symmetrical images are finally created, which are not visible at first glance. This rhetorical art in Hafez's poetry, which we have called the "symmetry of images" in the face of the term antagonism of images, has escaped the view of Hafez's rhetoricians and commentators; Hafez has received so much attention that it can be considered as one of his stylistic features. Of course, the extraction of the above-mentioned rhetorical-expressive elements, separately or in duplicate in a verse, has a long history in Hafez's poetry; But this is the first time that their combined form has been introduced as a prism that has at least four side and eventually forms two parallel images.

In literary works, the author, based on the mood of the audience, makes use of various literary devices to incite the power of imagination to validate the beauty of his/her work. Fantastic Etiology, Hosn-e taʿlil (literally meaning “beauty of rationale”) is one the rhetorical devices which poets employ to make the conventional explanations sound unfamiliar to take the reader to the world of imagination. Through a descriptive and analytical method, the present study, examines the functions of fantastic etiology in Farīduddīn ʿAṭṭār Nīšābūrī’s the Conference of the Birds or Manṭeq al-ṭayr. By the presentation and discussion of the examples of fantastic etiology in ʿAṭṭār’s work, the present research determines that although this literary device is not frequently used in the Conference of the Birds, it helps ʿAṭṭār deal with complicated artistic, literary, mystical, social and psychological concepts and to highlight the sophisticated beauty of his work. The result is breaking the ordinary and repetitive world of the readers with an unusual world of imageries.

"Complex systems theory" deals with the relationship between system components, collective behaviors in it and the quality of its interaction with the environment and expresses irregular, nonlinear, unpredictable, and complex behaviors in systems and assumes a finite order pattern in all of these irregularities; That is, the existence of drastic changes, irregular behaviors, unpredictable changes, critical movements, etc., which, Although they are chaotic, they have a regular pattern in the long-term and with repetition. In the study, by criticizing Khosrow and Shirin's narrative based on the theory of complex systems by qualitative analysis, the unpredictability of its events is analyzed and with emphasis on the interactions between the components of the story, their identity and the system as a whole and its chaos is determined. The richness and variety of actions and interactions Among the many independent variables, self-organization, adaptability to maintain their survival and interests, and impact on the environment, are key elements of this system that make it possible to apply this theory in its analysis. Khosrow and Shirin narrates the love and union of Khosrow and Shirin, but the murder of one, and the suicide of the other, make it romantic and poetic. From a systemic point of view, Khosrow's chaotic behavior in his marriage to Maryam and Shekar and Farhad and Shirin's suicide can be considered as systems with unpredictable and irregular behaviors that the function of each is an attempt to create the desired situation and, in a systemic sense, balance with the environment.
.

Tarikh e Sistan is a text from the middle of the fifth century which has been written by Morsal in terms of writing style and by an unknown author. Halliday considers the text to have trans-elemental elements, contextual context, and context, and to include empirical meanings, actors of discourse, and discourse, and to believe that the text should have a beginning, middle, end, or context. He has considered the language of the seven functions and maps: interactive, imaginative, instrumental, exploratory, supervisory, informational (declarative) and emotional. The main purpose of this study is to determine the ability of this theory to analyze the Tarikh e Sistan and to show the trans-role factors and functions of this text.

This descriptive-analytical study is a map-based reading of the history of Sistan based on Halliday's theory. Findings show that the ritual-religious discourse of the author of Tarikh e Sistan; Mythical and surrealist actors of the text; And the method of discourse based on linking history and myth, which have been processed with the wonderful adaptations of Iranian and Semitic culture (Kiomars = Adam AS), which are based on the idea of social equality and populism; They create the situational context and unwritten parts of this text.

This report text has a situational and contextual context and in its functions, imaginative and emotional function can be seen in expressing Sistan's wonders and its value, but the information maps (descriptions) and persuasive language have respectively. They are the most visible and the interactive function (conversations) has the least appearance compared to other functions and maps of language.

Among the various literary genres, mystical texts, and especially mystical memories that have narrated the biography of mystics, include the miraculous and extraordinary deeds that occur as a result of mystical virtues. They have the most similarity and alignment with the components of the school of magical realism. The authors of the present study, among the mystical memoirs and biographies of mystics, have considered the book Manaqeb al-Arefin Ahmad Aflaki, which describes the states and officials of Maulana and his family and companions, as the statistical population of this research. Descriptive-analytical method has tried to study the elements of magical realism in the mentioned work. The result of the research shows that Aflaki, like the leading writers of the school of magical realism, with the help of his very high imagination and admirable literary creativity and artistic genius, combines the elements of the world of magic and the world of reality so creatively that The formation of a whole becomes unique and persuades the reader to accept the magical element that flows in the context of reality. Existence of elements such as identity, timelessness, Placement, artistic fusion of reality and fantasy, use of magnification and exaggeration, and wonderful wonders that emerge from the characters of the stories. Manaqeb al-Arefin leads the mystics more and more to the realm of magical realism.

The themes and images of Hafez's poems are as much influenced by the poetry of the poets of his time as they are from the poetry tradition before him. Understanding the system of images of eighth century poetry is very much in the way of researchers in analyzing the images and themes of Hafez. The poetic exchange of the poets of this period is such that the sharing of poetic themes and images between them is obvious and by tracing these themes, the main features of the poetry of this century can be extracted. Among these verbal and spiritual commonalities, there is a contemporaneous lyric in the Divan of Khajavi Kermani, Salman Savoji, Nasser Bukharaei and Hafez Shirazi that given the undeniable similarity, the scholars' endless discussions about the meaning of "our Pir" in the tenth lyric poem of Hafez's divan can be arranged as a central point. In this research, which has been done by descriptive-analytical method, in order to introduce specifications of "our Pir" more accurately, its history was first explored in Attar's Ghazals, and after extracting the Attributes of "our Pir" in Attar's Ghazals and drawing his face, this image in poetry The eighth century was studied with an introduction to Golshan Raz by Sheikh Mahmoud Shabestari and focusing on the Ghazals with "Our Pir" context. Care in the studied poems showed that many opinions about the adaptation of the face of "our Pir" with the historical character of "Mansour Hallaj" are due to disregard for the poetic tradition of the eighth century and intersubjective relationships involved in creating poetic images of this period. Accordingly, by knowing and studying Hafez's contemporary poets carefully and assuming that he has been impressed by their creativity, in addition to removing many ambiguities about the sources of Hafez's themes, Hafez's Creativity can be discovered in comparison with these poets.