دانشگاه اصفهان فنون ادبی 20088027 18 3 2026 09 23 The Five Layers of Speech in Divan-e Shams: An Analysis Based on Kenneth Burke's Theory of Rhetorical Speech لایه‌های پنج‌گانة خطاب در دیوان شمس؛ واکاوی بر اساس نظریة خطاب بلاغی کنت برک 19 34 30181 10.22108/liar.2025.146489.2507 FA فائزه عرب یوسف آبادی دانشیار گروه زبان و ادبیات فارسی، دانشکده ادبیات و علوم انسانی، دانشگاه زابل، زابل، ایران Journal Article 2025 09 03 In the domain of analyzing classical Persian texts, the utilization of modern rhetorical theories can pave the way for a re-examining perspective on the linguistic and semantic structures of the texts. The general corpus of the Divan-e Shams-e Tabrizi, with its complex structure and highly dynamic language, is among those works whose rhetorical analysis necessitates a dynamic and flexible theory; therefore, Kenneth Burke's theory of rhetorical address has been selected as the analytical framework of this study. The aim of the current research is to reveal how address is formulated in the ghazals of Shams based on the five components derived from Kenneth Burke's theory. The research method is qualitative and text-based. The findings indicate that in Shams's ghazals, the apostrophe (nida) serves as a rhetorical summons to invoke the presence of the addressee to all existence, God, the soul, and even the poet himself. The imperative, rather than implying coercion or obligation, functions as the invocative act of the speaker to call the addressee to another realm of existential experience. The questions posed in Shams's ghazals, instead of being answer-oriented, are contemplative, serving to invite wonder, summon to intuition, or awaken the addressee. Addressing the self in these ghazals acts as a construct in which the boundaries between inside and outside, self and other, 'I' and 'you,' dissolve, and performance is the passionate presence of meaning at the level of language—when language becomes, for the poet, a field of Sama and presence. Keywords: Performance, Self-Address, Divan-e Shams, Imperative Verb, Kenneth Burke, Apostrophe. Introduction In the realm of classical Persian text analysis, utilizing modern rhetorical theories can facilitate a rethinking of linguistic and semantic structures. The Divan of Shams Tabrizi by Jalal al-Din Muhammad Rumi, with its complex structure and performative language, is a work whose rhetorical analysis requires a dynamic and flexible theoretical framework; thus, Kenneth Burke’s theory of the "Rhetorical Situation" has been selected as the analytical framework for this study. Burke, in his book A Rhetoric of Motives (1950), moves beyond viewing rhetoric merely as a tool for persuasion, defining it instead as a mechanism for social bonding and interaction that necessitates the interplay of speaker, audience, and scene. This perspective aligns with the address-centric nature of Shams's ghazals, where the poet addresses real humans, himself, abstract concepts, and the Divine. This study aims to reveal how address is formulated in the ghazals of Shams based on five components derived from Burke's theory: Invocation, Imperative, Question, Internal Address, and Performance. The primary problem addressed in this study is how rhetoric manifests in audience-oriented actions within Shams's ghazals, with the goal of investigating the capacity of the rhetorical situation theory to explain the linguistic and action-oriented structures that elevate language from a transmissive to a performative state. Materials and Methods The present study employs a qualitative research methodology, utilizing a descriptive-analytical approach to conduct an in-depth textual analysis. The primary corpus for this investigation consists of the Divan of Shams Tabrizi by Jalal al-Din Muhammad Rumi, specifically selected for its sophisticated linguistic structures and its reliance on intense, audience-oriented dynamics. Given the text's complex nature—which invites the audience to participate in a verbal action rather than merely observe it—the research is grounded in the hypothesis that the ghazals are highly compatible with Kenneth Burke’s theory of the Rhetorical Situation. The analysis focuses not only on the formal presence of these elements but also on their functional role in shifting the text’s register. Specifically, the research examines how these layers operate to dismantle traditional boundaries between the speaker and the listener, treating the "audience" as a fluid construct that ranges from the Divine to the poet’s own self. By tracing the trajectory of these five components, the study aims to demonstrate how Rumi elevates language from a static, transmissive tool to a dynamic, performative force. This approach allows for a comprehensive investigation of the "logic of address" in the poetry, revealing how the poet utilizes linguistic capacity to transform the text into a "scene" where meaning is enacted and shared, effectively moving the reader from a passive receiver to an active participant in the semantic field. Research Findings The analysis of the ghazals based on the five specified components yielded the following results: Invocation: In Shams's ghazals, invocation functions as a rhetorical call to summon the presence of the entire cosmos, God, the soul, and even the poet himself. It acts not as compulsion or obligation, but as an evocative action by the speaker to invite the audience to another realm of existential experience. Imperative: The imperative verbs in the text serve to move the spirit and excite the soul, rather than to command or impose obligation. Rumi elevates language from the propositional level to the level of action. Questions: The rhetorical questions posed in the ghazals are not answer-oriented; instead, they are contemplative and designed to invite the audience to wonder, intuition, or awareness. Internal Address: Addressing the self functions as structures in which the boundaries of inside and outside, self and other ("me" and "you"), are obliterated. Shifts in pronouns and the transition from "me" to "you" reflect psychological, emotional, and existential layers. Performance: There are verses in the ghazals where words dance, scream, circle, and command. In this context, language transforms into a field of "Sama" (spiritual audition) and vigorous presence. Discussion of Results and Conclusions The results of the analysis demonstrate that rhetoric in Rumi's semantic system is not merely a tool for expression or persuasion; rather, it is a living, participatory, and multi-layered structure that invites the audience not only to receive a message but to be present in the field of meaning. In Shams's ghazals, every address is a linguistic event that rises from the depths of language and projects into the world of experience and intuition. Overall, the five components analyzed in this research reveal that the address in Rumi's ghazals possesses a fluid, multi-voiced, and absolutely rhetorical structure. It is neither purely internal nor externally projected but is continuously generative and unfolding. By leveraging linguistic, syntactic, rhetorical, emotional, and musical capacities, Rumi does not merely "address"; rather, he performs, lives, and transforms the address into a collective experience. در حوزة تحلیل متون کلاسیک فارسی، بهره‌گیری از نظریه‌های بلاغی نوین زمینه‌ساز نگاهی بازاندیشانه به ساختارهای زبانی و معنایی متون خواهد بود. کلیات دیوان شمس تبریزی با ساختار پیچیده و زبان پرکنش خویش، از زمرة آثاری است که تحلیل بلاغی آن، نیازمند نظریه‌ای پویا و انعطاف‌پذیر است؛ ازاین‌رو نظریة خطاب بلاغی کنت برک برای چارچوب تحلیلی این مقاله برگزیده شده است. هدف پژوهش، آشکار ساختن چگونگی صورت‌بندی خطاب در غزلیات شمس بر پایة پنج مؤلفة برآمده از نظریة کنت برک است. روش تحقیق، کیفی و متن‌محور است. یافته‌ها نشان می‌دهد که در غزلیات شمس، ندا نوعی فراخوان بلاغی برای احضار حضور خطاب به همة هستی، خدا، جان و حتی خود شاعر است. امر به جای تحکم یا الزام کنش احضارگرانة گوینده برای فراخواندن مخاطب به ساحت دیگری از تجربة هستی است. پرسش‌هایی که در غزل‌های شمس مطرح می‌شود، به جای پاسخ‌محور بودن، تأمل‌افزا و برای دعوت به حیرت، فراخوان به شهود یا آگاه‌سازی مخاطب است. مخاطبه با خویشتن در این غزلیات، به‌مثابۀ ساخت‌هایی عمل می‌کند که در آن مرزهای درون و بیرون، من و او، من و تو، مضمحل می‌شوند و اجرا، حضور پرشور معنا در سطح زبان است، آن‌گاه که زبان برای شاعر تبدیل به میدان سماع و حضور می‌شود.

https://liar.ui.ac.ir/article_30181_d905633acf28d92caac7412b89b37cf2.pdf