دانشگاه اصفهان فنون ادبی 20088027 18 3 2026 09 23 The Necessity of Re-examining the Similes in Nizami Ganjavi’s Makhzan al-Asrar ضرورت بازکاوی در تشبیهات مخزن‌الاسرار نظامی‌ گنجه‌ای 55 74 30208 10.22108/liar.2026.147302.2525 FA حسین علیقلی زاده استادیار گروه ادبیات فارسی و زبان‌های خارجی، پردیس علوم، دانشگاه صنعتی خواجه نصیرالدین طوسی، تهران، ایران حمید پولادی استادیار گروه زبان‌های خارجی و دروس عمومی، دانشکدۀ مهندسی صنایع و مدیریت، دانشگاه صنعتی شاهرود، شاهرود، ایران Journal Article 2025 11 03 One of the most widely used imaginative techniques, which plays a crucial role in shaping the figurative language of the Makhzan al-Asrar of Nizami Ganjavi, is simile. Given the great importance of this literary technique and the lack of independent research in this field, this study investigates the element of simile and its types in this work. The results of the study show that, in terms of types of similes, the most common types are baligh, mufassal, mu’akkad, and mujmal, respectively. Regarding the components of simile, all four types of tenor (mushabbah) and vehicle (mushabbah-un-bih), in sensory and intellectual, as well as structural patterns (simple, restricted, and compound) have textual evidence. Among these, “sensory-to-sensory” and “simple-to-simple” similes are the most frequent, while “intellectual-to-intellectual” and “compound-to-simple” are at the least common. Additionally, among the various markers of simile (adat-e tashbih), cho and chon play the most significant role in constructing similes in this work. The ground of comparison (wajh-e shabah) is also widely used and accompanied by poetic innovations. Keywords: Nizami Ganjavi, Makhzan al-Asrar, Simile (Tashbih), Rhetorical Devices, Figurative Language. Introduction One of the most eloquent rhetorical techniques for conveying diverse meanings is simile. As a stable element in the structure of many poetic forms, this figure of speech maintains a continuous presence in literary texts and thus occupies a prominent position among other rhetorical devices. In Makhzan al-Asrar, simile constitutes one of the most salient rhetorical figures, forming the basis of numerous poetic images. Nizami consistently employs this figure as an assistant for imaginative expression. As Zarrinkub observes: “Among the various types of figurative imagery, without which poetry rarely achieves imaginative power in its details, simile and metaphor assume a more pronounced role in his discourse” (Zarrinkub, 2004, p. 233). Therefore, given the significance of this figure of speech, its remarkable presence in Makhzan al-Asrar, and its crucial role in revealing Nizami’s distinctive and creative modes of poetic expression, the present study aims to examine the types and functions of simile in this work. The study of similes in Makhzan al-Asrar has been limited to a few works. These include Imaginary Figures in the Nizami’s Khamsa by Zanjani (1998), which examines a number of similes of Khamsa; Comparative and Analytic Research on Nizami’s and Jami’s Similes by Nabilou (2009); and The Comparison of Structure of Makhzan al-Asrar's and Matla al-Anwar's simile by Nabilu and Shiravi (2010). Although these studies address similes in Makhzan al-Asrar, they exhibit certain limitations that highlight the need for further research and a comprehensive re-examination of similes in this work. Materials and Methods This research was conducted using a descriptive-analytical method, based on data extracted from the original source. In the first stage, the verses were read individually, and all instances of similes were identified and recorded. They were then organized into specific categories, and the exact frequency of each type was determined. In the second stage, the obtained statistical data were used to analyze the types, salient features, and functions of each of the four components of simile. Research Findings In Makhzan al-Asrar, all types of similes are evident throughout the work. The most frequently employed types are Baligh, Mufassal, Mu’akkad, and Mujmal, respectively (See: Table 1). Table 1. Frequency of Simile Types in Makhzan al-Asrar Similarity Type Frequency Percentage Number of Verses Mufassal 203 16.23 168 Mujmal 110 8.79 94 Mu’akkad 196 15.67 153 Baligh 742 59.31 505 Total 1251 100 829 Regarding to tenor (mushabbah) and vehicle (mushabbah-un-bih), sensory elements are most frequently employed in constructing similes and objectifying abstract concepts. As Servatian (2000, p. 198) notes: “material and tangible objects of the universe and nature often are the main actors in the scenes of similes in the Makhzan al-Asrar. Intellectual elements are also utilized to emphasize tangible concepts and create novel similes, although this occurs less frequently. In terms of structural classification (simple, restricted, and compound), simple type is the most prevalent, while compound and restricted similes are comparatively rare. Among restricted similes, those limited to adjectives are the most common. Compound similes are generally infrequent in Makhzan-ul-Asrar. Markers of simile (adat-e tashbih), in this poem exhibit both variety and strategic usage. For instance, the omission of markers of similes in Mu’akkad similes serve to conceal them, reflecting Nizami’s artistic intent, whereas the explicit mention of similes’ markers in Mufassal and Mujmal categories primarily serve an explanatory function. The deliberate mention and omission of ground of comparison (wajh-e shabah) serve diverse artistic and functional purposes. Considering the high frequency of Baligh similes, it is evident that Nizami tends to omit similes, thereby enhancing the imaginative impact and literary function of his poetic imagery. Discussion of Results and Conclusions Among the different types of similes in Makhzan al-Asrar, Baligh similes have a particularly prominent position, with 743 instances (59.39%). That is followed Mufassal similes, which account for 203 instances (16.34%), Mu’akkad similes with 195 cases (15.70%), and Mujmal similes with 110 instances (8.62%). Regarding the elements of similes, all four categories of sensory and intellectual components, as well as the nine types of structural classified as simple, restricted, and compound, are attested in this poem. Among these, ‘sensory-to-sensory’ similes (763 instances) and ‘simple-to-simple’ similes (731 instances) are the most frequent, whereas ‘intellectual-to-intellectual’ (59 instances) and ‘compound-to-simple’ similes (2 instances) occur the least. In terms of stylistic and various similes markers employed to construct similes, chu (109 instances) and chun (69 instances) appear the most, while markers such as be-rsam and eidun are used only once. Additionally, the omission of ground of comparison (wajh-e shabah) constitutes a primary technique employed by Nizami to introduce complexity and create a pause in the comprehension of the metaphorical relationship between the two components of simile. Grounds of comparison in this poem exhibit a wide range of qualities, including color, shape, movement, posture, dimension, and other characteristics. مخزن‌الاسرار حکیم نظامی گنجه‌ای یکی از برجسته‌ترین مثنوی‌های تعلیمی ادب فارسی در قرن ششم هجری است که به‌واسطة ساختار پیچیدة زبانی و به‌کارگیری شگرد‌های گوناگون بیانی، از شهرت و اقبال زیادی برخوردار است. یکی از پرکاربردترین عناصر بیانی که نقش مهمی در ساخت زبان تصویری در این منظومه دارد، «تشبیه» است؛ ازاین‌رو، هدف نویسندگان در این جستار این است تا با واکاوی و تحلیل عنصر تشبیه و انواع و ارکان آن، زمینة شناخت هرچه بهتر این اثر گران‌سنگ و نیز دستگاه بلاغی آن را برای دوستداران و نظامی‌پژوهان فراهم سازند. این پژوهش به روش توصیفی‌تحلیلی و برمبنای داده‌های به‌دست‌آمده از متن اصلی اثر انجام گرفته و نتایج آن از این قرار است: از نظر «انواع تشبیهی» تمامی تشبیهات در مخزن‌الاسرار حضور چشمگیری دارند که انواعِ «بلیغ»، «مفصل»، «مؤکد» و «مجمل» به‌ترتیب پربسامدترین تشبیهات این منظومه است. همچنین پراکندگی تشبیهات در مخزن‌الاسرار نشان می‌دهد که بیش از نیمی از انواع تشبیهات، در بخش «مقدمات» اثر (با یک‌سوم حجم کل ابیات) به کار رفته است. از نظر «ارکان تشبیهی» نیز همة انواع چهارگانة طرفین به‌اعتبار «حسی ‌و عقلی» و نه‌گانه به‌اعتبار «مفرد، مقید و مرکب»، دارای شواهد کاربردی است که از آن میان طرفینِ «حسی ‌به ‌حسی» و «مفرد به ‌مفرد» بیشترین کاربرد و طرفینِ «عقلی ‌به ‌عقلی» و «مرکب ‌به ‌مفرد» کمترین کاربرد را داراست. از میان ادات متنوع تشبیهی نیز، «چو» و «چون» مهم‌ترین نقش را در ساختار تشبیهات به خود اختصاص داده‌اند. کاربرد وجه‌شبه نیز با توجه ‌به کاربرد زیاد تشبیهات مفصل و مؤکد در دو نوع تخییلی و تحقیقی، گسترده و همراه با نوآوری‌های شاعرانه است.

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