دانشگاه اصفهان فنون ادبی 20088027 6 2 2014 11 22 جلد11 0 19729 FA Journal Article 2016 06 14 https://liar.ui.ac.ir/article_19729_2add50d32da7d0677e511d7deb484205.pdf

دانشگاه اصفهان فنون ادبی 20088027 6 2 2014 11 22 Abstract of interjection and vocative position in Persian grammar and semantics جایگاه «ندا و منادا» در دستور زبان فارسی و علم معانی 1 14 21204 FA حسین آقاحسینی استاد گروه زبان و ادبیات فارسی دانشگاه اصفهان 0000-0009-0009-0009 محبوبه همتیان دانشجوی دکتری زبان و ادبیات فارسی دانشگاه اصفهان زهره مشاوری دانشجوی دکتری زبان و ادبیات فارسی دانشگاه اصفهان Journal Article 2012 07 20 Vocative is a role that noun accepts it and usually used in Persian language with interjection letters i.e. "Ey", "Ya" and "Alef" that is attached to the end of the noun. By combining the definitions that have been mentioned for vocative in grammar books, it can be concluded that vocative is a noun that is addressed; whether it is a real address or figurative. The verbal symbol of vocative is "Ey" and its synonyms in sentence that sometimes these symbols are deleted from sentence and the change of word's song is replaced it. Vocative and more precisely the core of vocative may be deleted from the sentence. Vocative deletion in sentence is among problems that grammarians have paid less attention to it in vocative subject. In a general overview, vocative can be divided into two mentioned and deleted sectors.When vocative is mentioned in sentence it can be explicit or ironic name but deleted vocative includes following types: 1. Some cases that participle or interpretable phrase to participle is used after the interjection letter (Ey) that sometimes in this case the conjunction letter "Ke" is used after the interjection letter, for example: Ey ke dar koshtan-e ma hich modara nakoni Soud-o sarmaye besouzi-o mohaba nakoni (Hafez, 1990: 340) And sometimes it has been used without "Ke", for example: Ey az banafshe sakhte bar gol mesalha Dar aftab karde ze anbar kolalha (Sanaei, 2001: 801) 2. Some cases that speaker pronouns of "I" and "We" are used after the interjection letter "Ey" and the phrase after the letter "Ey" can be totally considered as an adjective for the deleted core of vocative, for example: Narges kereshme mibarad az had boroun khoram Ey man faday-e shive-ye chashme siyah-e to (Hafez, 1990: 284) In Persian texts, some evidences are also found that the letter "Ey" is not used for addressing in them.In the structure of these types, no vocative has been mentioned in the sentence and deleted vocative cannot be distinguished but interjection can be considered as some particles to express surprise or wish, for example: Doush ba simin senobar dar nahan sar dashtam to express surprise: Ey khosh an yadi ke ba simin senobar dashtam (Amir Moezi, 2006: 423) Dar shahr-o dar biaban hamrah-e an mahimtowish: Ey jan gholam-o bande-ye an mah-e khosh-legha (mawlavi, 1997: 66) In rhetorical books under the semantics topics, exclamatory sentences are classified as composition seeking types that like other sentences, the secondary intentions and meanings have been mentioned for them. One of the topics that have been considered less in these sentences is the secondary meaning separation of interjection and vocative as a quasi–independent sentence of a written sentence after it. Meanings derived from sentences and phrases with interjection and vocative are something that is considered as secondary meanings for this type of sentence. However, its secondary meanings independent of sentences and phrases after it must be proposed and considered because interjection and vocative is sentence fragment. for example: Hezar bar begoftim-o hich dar nagereft Ke gerd-e eshgh nagard ey faghir-o gardidi (sa’di, 1987: 441) If the addressee is called by the word "poor", it means his poverty and incapacity to enter the world of love and in other words it has a sense of humiliation. Although the secondary intention of the predicative sentence stated in this verse, chastise and rebuke are found; this problem is true in different types of vocative that has been mentioned in the first part of the study; For example, in the following verse, vocative is the word of someone who is deleted in the sentence: Ey ke dar koshtan-e ma hich modara nakoni Soud-o sarmaye besouzi-o mohaba nakoni (Hafez, 1990: 340) This sentence vocative is justified as "Ey Kase dar koshtane ma'a hich modara nakonandeh", so it is the adjective followed by the vocative word and play the vocative role, it has the specific connotation of imploration for mercy, however, the later sentence has the secondary intention of rebuke and chastise. By considering vocatives made by the letter "Ey", according to the suggestive classification in the grammatical part of the present study, the deleted and mentioned types of vocatives in the secondary intentions can be considered. But in most evidences, the secondary intention that is found through the integration of interjection and vocative had coordinated with the secondary intention of its following sentence and both of them have been mentioned to express a total concept and their secondary intentions are conceptually close to each other. در همه کتابهای بلاغی عربی و فارسی «جمله های ندا» از نوع انشاء طلبی شمرده شده است و به صرف ذکر حرف «ندا» یا حرف «ندا و منادا» و یا وجود آهنگ و لحن «ندایی» در یک جمله، آن را انشاء طلبی به شمار آورده و دارای معانی و مقاصد ثانوی دانستهاند. مبحث ندا در زبان، موضوعی قابل تأمل است و با بررسی شواهد مشخص میشود، ندا اقسامی دارد که نمیتوان برای همة آنها حکم واحدی صادر کرد؛ زیرا هر کدام ویژگی های خاصی دارد که هم از جهت قواعد دستور زبان فارسی و هم از جهت مقاصد ثانوی نیازمند تأمل و بررسی است. در این گفتار ابتدا اقسام ندا با تکیه بر دستور زبان فارسی دستهبندی میشود و با توجه به ویژگی های هر یک پیشنهادهایی در این تقسیم بندی مطرح میگردد؛ سپس با توجه به بار معنایی هر یک دربارة مقاصد ثانوی آن نیز مطالبی ارائه میشود. در این مقاله کوشش شده است به پرسشهای زیر پاسخ مناسبی داده شود. 1- آیا حروفی مانند «ای»، «یا» و «ا» که برای ندا به کار میرود همواره حرف ندا به شمار میآید؟ 2- آیا در زبان فارسی اقسام متفاوتی برای منادا وجود دارد؟ 3- آیا براساس تعریف ندا در کتب بلاغی، همواره لفظ «ندا» و «منادا» دارای مقاصد ثانوی است یا این مقاصد بر اساس جملات پس از ندا مشخص میشود؟

https://liar.ui.ac.ir/article_21204_d38aca3c44b4018410737a9d9649ef52.pdf

دانشگاه اصفهان فنون ادبی 20088027 6 2 2014 11 22 Comparison of Aminpour’s Qhazal and Qhazve‘s Qhazal Based on Structural Stylistics مقایسه غزل «تقویمها»ی امین پور با غزل «قسمت» قزوه براساس سبک شناسی ساختاری 15 32 19721 FA احمد رضایی دانشیار گروه زبان و ادبیات فارسی، دانشگاه قم سمیه خورشیدی کارشناس ارشد زبان و ادبیات فارسی، دانشگاه قم Journal Article 2016 06 14 The importance of stylistics in examining the texts has resulted in the burgeoning of various stylistic schools, with their differing methodologies. Among them, structural stylistics – which is the more polished version of formal stylistics – looks over the structure of words, sounds and syntax in the text and then focuses on their relation to the content. In fact, structural stylistics, drawing upon the structuralists views, is formed on the basis of structural linguistics, and works to analyze a literary text with regard to its organic unity and the inter-relationship of the parts to the whole. In other words, the main purpose is to approach the content of a work through its form and structure. In this method, stylistic features of the work are recognized through understanding the structural proportions between sounds, words and syntax. Accordingly, the structuralists regard the style as the manner of deviation and extra-regularity and the frequency of its occurrence in a particular era. The present article, first, refers to the definitions of style and stylistic schools and enumerates the features of structural stylistics and then sets out to study and compare two ghazals on the subject of the Holy Defense by Gheisar Aminpour ("Taghvimha" or "Calendars") and Alireza Ghazve ("Ghesmat" or "Destiny"), in the light of structural stylistics. Through analyzing the different parts of the texts, with regard to balances and deviation, we will deal with the relatedness and proportion of these parts to the content. "Calendars" is among the best-known ghazals of Aminpour. It contains the issues of feeling ashamed of martyrs, lamenting over our negligence, and feeling left away from the martyrs. A special sense of grief and sadness, hidden in the particular rhythm and cadence of the words and combinations, helps the poet to express his feelings and thoughts. The ghazal "Destiny" deals also with the distress and exhaustion the poet feels in this world. The envy the poet feels for the martyrs and the blame he puts on himself for being left behind is evident throughout the poem. He is abandoned in this world which he calls a "black alley", while his friends and companions pass in front of him. The poet cries and is so overwhelmed by emotions that he speaks with sudden pauses, which is reflected in the use of short syllables in the poem. Its rhymes and meters indicate the internal speed. The poet's feeling of lament, conveyed by the use of fricative consonants as rhymes, adds to the music of the poem. Aminpour makes the most of linguistic potentials, so that repetitions, harmony and deviations function better to impart the theme and also the poet's feeling. In both poems, the subject matter is in tune with the phonemes. Aminpour employs vowels and affricate consonants to express his internal grief. Ghazve conveys his nostalgic feeling by fricative consonants. In "Destiny" fricative consonants are mostly used, whereas in "Calendars" affricate consonants prevail. In "Destiny" the melody of rhyme has added to the music of the poem and has done its task in communicating the poet's distress and weariness. Aminpour makes use of identical rhymes in addition to rhymes; because identical rhymes act as the center of unity and coherence in his poem. However, in both poems, words in syntagmatic and paradigmatic axis appear together, and these collocations add to the coherence of both texts. Both poets use words which are semantically related or close together. Aminpour's diction is more reader-friendly; his language is closer to ordinary language; that is why he is more successful in communicating his feeling and thought. Aminpour tried to invent fresh combinations that are absent from Ghazve's ghazal. The correlation of the parts with the content in both poems shows that the authors have been successful in conveying their feelings. The tone of the poems is quite appropriate to the feelings of their poets and the clarity and lucidity of their speech make them easy to grasp پژوهش حاضر به بررسی و مقایسۀ دو غزل در زمینۀ دفاع مقدس، یکی از قیصر امین‌پور با نام «تقویم‌ها» و دیگری غزل «قسمت» از علیرضا قزوه، در چهارچوب سبک‌شناسی ساختاری پرداخته است. سبک‌شناسی ساختاری از رویکرد‌های جدید در سبک‌شناسی است که همگام با پیشرفت‌های زبان‌شناسی نوین ظهور یافت؛ این رویکرد متأثر از دیدگاه‌های ساختارگرای قرن بیستم و مبتنی بر این اصل است که برای دریافت سبک‌شناسانۀ یک اثر، باید اجزای آن را در ارتباط با کل سیستم بررسی کرد و هدف آن، تعیین تناسب اجزای متن با کل سازه‌های متن است که از طریق بررسی شکل و ساخت، به محتوا می‌رسد. تحلیل عناصر یک متن و تأثیر آن در محتوای شعر، باعث دقت بیشتر سبک‌شناس در بیان شاعر می‌شود. این پژوهش، به منظور بررسی سبک‌شناسانۀ دو اثر مذکور، پس از اشاره به تعاریف سبک، برشمردن مکاتب سبک‌شناسی و ارائۀ ویژگی‌های سبک‌شناسی ساختاری، به تحلیل اجزای هردو متن از لحاظ توازن‌ها و قاعده‌کاهی‌ها، به ارتباط و تناسب میان اجزا و محتوا پرداخته است. حاصل تحقیق نشان می‌دهد: الف) ساختار بیرونی و درونی دو غزل با محتوا نیز تناسب دارد؛ ب) دستگاههای آوایی، واژگانی، نحوی و بلاغی به تأثیر عاطفی شعر کمک می‌کنند؛ ج) عناصری که هر دو شاعر به کار گرفته‌اند، با ساختار شعر مرتبط است؛ ه) احساس و لحن دو غزل با هم هماهنگ عمل می‌کنند.

https://liar.ui.ac.ir/article_19721_cc575f355d3b548d806c0d51540d0f88.pdf

دانشگاه اصفهان فنون ادبی 20088027 6 2 2014 11 22 Silent Speech A Reflection on the body language in Shams's ghazals گفتار بیصدا: تأملی بر زبان بدن در غزلیات شمس 33 48 19726 FA مینا بهنام دانشجوی دکتری زبان و ادبیات فارسی، دانشگاه فردوسی مشهد ابوالقاسم قوام دانشیار زبان و ادبیات فارسی، دانشگاه فردوسی مشهد محمد تقوی دانشیار زبان و ادبیات فارسی، دانشگاه فردوسی مشهد محمدرضا هاشمی دانشیار زبان و ادبیات انگلیسی، دانشگاه فردوسی مشهد Journal Article 2016 06 14 Literature as a verbal medium containing human characters is full of non verbal signs such as body language. Use of this indicational language in the Shams's sonnets is considerable. Mowlavi in this work, mostly for preserving sanctum of character, specially Shams, has described his gestures in various position, utilizing of body language in symbolic way. So, taking care of them, one can understand the response of addresser into addressee and assess his place and sense into him on the basis of discourse approach. This article consists of an introduction and three parts. Introduction and the part of problem statement involves defining the problem, questions, hypotheses and background of research. After introduction, the theoretical basis for research has been mentioned. In this section, we discussed non-verbal signs and body language, researchers’ ideas about the role of body language in literature and kinds of nonverbal signs. Then we spoke about methods of applying body language. For this purpose, non-verbal signs including a kind of visual, phonetic and symptoms related to the physical distance have been studied and then semantic range and frequency of repetition of each item have been determined. Main part of this article is dedicated to analyzing the data obtained from ghazals. At this stage of the research, studying the body language of Shams’s ghazals, different movements and the meaning of each, every effects related to the body language approach has been collected based on author’s linguistic talent. Then the list of gestures and their meanings, in terms of semiotics, has been prepared. It is to be said that due to the multiplicity of samples and the limitations of paper, just some examples of usage of body language in Mowlavi's verses has been analyzed. To learn more about that, readers can see final notes listed. In the next stage, by drawing a diagram, the frequencies of these signs used in the context and other research findings have been evaluated. The data analysis showed that Mowlavi in his ghazals is not only an introvert poet, but has used external issues such as body language signs and reports in the context of Shams’s ghazals. Perhaps, it can be said that this itself is due to his concern and his desire to prefer inwards to outwards. ادبیات به عنوان رسانه‌ای کلامی که دارای شخصیتهای انسانی است، سرشار از نشانه‌های غیر‌کلامی از جمله علایم زبان بدن است. کاربرد این زبان دلالی در غزلیات شمس قابل توجه است. مولوی در این اثر اغلب از باب حفظ حریم و قداست شخصیت به ویژه شمس تبریزی حرکات وی را در موقعیتهای مختلف با استفاده از زبان بدن به نحوی رمزگونه به تصویر کشیده که با تأمل در آن می‌توان واکنش گوینده را به مخاطب دریافت و با رویکردی گفتمانی جایگاه، موضع و احساس او را نسبت به وی تعیین کرد. بر این اساس در این تحقیق نشانه های غیرکلامی به اقسام دیداری، آوایی و علایم مربوط به فاصله بدنی تقسیم و طیف معنایی و بسامد تکرار هر یک، با در نظر داشتن بافت غزل مولوی مشخص شده است. برآیند تجزیه و تحلیل داده‌های پژوهش نشان می‌دهد که مولوی در غزل تنها شاعری درون‌گرا نیست و از مقولات بیرونی از جمله علایم زبان بدن و گزارش آن‌ها در متن غزلیات شمس نیز غافل نمانده است؛ و شاید بتوان همین توجه مولوی را نیز معلول دل‌مشغولی و درون نگری وی یا ترجیح حکم باطن بر ظاهر دانست که همچنان میل و علاقه شدید به دیدار یار و توصیف این مسأله از دغدغه‌های فکری مولوی چه در قلمرو امور باطنی و ایجاد ارتباط بین مسایل دیداری با امور انتزاعی و چه در علایم زبان بدن محسوب می‌شود.

https://liar.ui.ac.ir/article_19726_6cefb10cc65d0ec0dde258a14c2ead61.pdf

دانشگاه اصفهان فنون ادبی 20088027 6 2 2014 11 22 The kinds of Ya in today Persian languag انواع «ی» در زبان فارسی امروز 49 58 19719 FA سیدمحمدرضا ابن الرسول استادیار گروه زبان و ادبیات عربی، دانشگاه اصفهان محمد رحیمی خویگانی دانشجوی دکتری زبان و ادبیات عربی، دانشگاه اصفهان Journal Article 2016 06 14 Diversity of suffix ‘-i’, called ‘ya’, in Persian language, which is of important consideration, for any reason, has not been able to attract scholars and grammarians in the field of Persian language. Here is an attempt to mention different kinds of ‘ya’ and to explain their applications, relying on grammar books, dictionaries, and today native application. The character generally has three types of applications in Persian language. It is firstly one of the Persian alphabet, so it primarily functions as a ‘phoneme’. It is applied in its second function when appears in the form of ’morpheme’, such as ‘-i’ in ‘mardi rad shod’ (a man passed) with usage of indefinite article. The third function appears when it comes in the place of a word, because it is one of the six types of pronouns. So, ‘ya’ is applied in three forms: phoneme, morpheme and word. In continue, it is attempted to explain these kinds in more details. ‘ya’ as indefinite maker (Nakare): This kind of ‘ya’ is called the mark of indefinite by many of the Persian grammarians, including doctor Mohammad Moin. Dehkhoda says ‘ya’ is added to the end of the word to make it an indefinite one, such as the last word and it is a sign of indefinite types " of " is unknown, such as‘-i’ in ‘pesari ra didam’ (I saw a boy). ‘ya’ as numerical suffix means one (vahdat): This kind is added to the last of the word, and means "one". The difference between this one and the previous, ‘ya’ as indefinite maker, is just in their meanings. ‘ya’ as attributive suffix: This ‘ya’ is joined by various kinds of Persian words an attributes them to someone, some place or something, such as ‘Shirazi’(from shiraz), ‘farsi’(Persian), ‘Irani’(Iraian), Barmaki (Barmakian). This kind also sometimes has other meanings like emphasis, adverbial, degradation, similarity, vehicle, type, distance, and so on. ‘ya’ as addressing suffix (khetab): This kind is added to the end of verbs and is one of the six subjective pronouns – ‘-am’, ‘-i’, ‘-ad’, ‘-im’, ‘-id,’ ‘-and’ –used jointly. This just joins by verb and sometimes verb is replaced by it. ‘ya’ as infinitive maker: It is added to the end of nouns and adjectives to form various kinds of infinitives. Such as‘-i’ in ‘madari’ (to be mother). ‘ya’ as a suffix means astonishment: This ‘ya’ appears in the end of adjectives meaning astonishment, such as ‘che marde zeshti!’ (what an ugly man!). ‘ya’ as description planner (relative, indefinite): This one has been called by grammarians variously; indefinite, allusion, definition, descriptive, relative, indicative, and so on. These names are the matter of debates in this essay. ‘ya’ as emphatic suffix for adverbs: Another kind of ‘ya’ can be named adverb maker. 1- It is an independent one for which two possibilities can be considered: It comes with some adverbial expressions with an emphatic function such as ‘zoodi amad’ (he came soon). 2- It carries the burden of preposition in other adverbial forms, such as ‘be zoodi’ (soon). Arabic ‘ya’s in Persian language: Some kinds of ‘ya’ are Arabic, such as geminated ‘ya’ in attributives, and first person pronoun ‘ya’ which have separately or jointly by their words entered within Persian language and found their places. ‘ya’ as institution of ‘-e’ (kasre) meaning ‘of’: It comes at the end of the word finished by non-pronounced ‘ha’ in combining with an adjective or noun in the genitive case to avoid the difficulty in pronunciation of a vowel besides another one. یکی از مباحث مهمی که در دستور زبان فارسی کمتر مورد توجه قرار گرفته است، مبحث چندگونگی «ی» در این زبان است، «یائی» که هم در مقام واژه، هم در مقام تکواژ تأثیر فراوانی بر غنای زبان فارسی دارد اما دستور نویسان فارسی هیچ گاه این مقوله را به طور مشخص و مستقل مطرح نکرده‎اند و غالبا در خلال مباحث دیگر مثل «معرفه و نکره»، یادی هم از «ی» کرده‌اند. پژوهش حاضر که با روش تحلیلی-توصیفی نگاشته شده است، در صدد است تا خلأ مذکور را پر کند و با نگاهی دوباره به مسأله «ی» یک دسته بندی جامع و نو از آن ارائه دهد؛ مهمترین یافته‌های این پژوهش بیانگر آن است که انواع مختلفی از «ی» از دید دستور نویسان دور مانده است که از قضا کاربرد فراوانی در زبان فارسی دارد، انواعی مانند «ی» تأکید قید و «ی» زمینه ساز وصف.

https://liar.ui.ac.ir/article_19719_734e74471775e651692464e2cb01d7d7.pdf

دانشگاه اصفهان فنون ادبی 20088027 6 2 2014 11 22 A study on caesura in Persian prosody بررسی درنگ شعری در وزن شعر فارسی 59 68 19723 FA عباس جاهدجاه استادیار، گروه زبان و ادبیات فارسی، دانشگاه پیام نور Journal Article 2016 06 14 Caesura is a pause in a line of poetry that were used primarily in Greek poetry and moreover in the poetry of most indo- European languages: Latin, Sanskrit, Avestan, German and old English. Although in Persian prosody, Caesura has an important place; critics have paid little attention to it and consequently, its relations with prosodic meter of Persian poetry remains unclear. In first view it seems that the main situation of caesuras in Persian prosody is between two hemistiches of line or in middle of hemistiches with cyclical (symmetrical) meter; but in this study we tried to observe other inter-hemistich caesuras. The principle question we follow is the functions of caesura in Persian prosodic poem. We tried to prove that caesura is rarely the basic element of meter and in most cases, its main assistant. Primarily, we recognized caesuras in two kinds of meter: meter with obligatory caesura (that caesura is the main factor of its rhythm) and meter with voluntary caesura (that caesura is an assistant of its rhythm). Meter with obligatory caesura In prosodic Persian poetry, these meters are low usage and in order to their rhythm be heard, it is necessary to set caesuras strictly in proper place. It must notice that these meters, contrary to most of Persian prosodic ones, are not composed of two syllable types (long & short syllables). They are made exclusively of long syllables. It seems that caesura in this kind of meter, is replaced with short syllables and made possible to form syllabic ordered sets; so these meters could be considered as a different kind of ordinary quantitative Persian prosodic meter. Meter with voluntary caesura In this kind, Caesura is an assistant of meter and so, there is no obligation to pause at its place, however, on the one hand it can intensify rhythm and on the other hand, there is a relation between caesura and the meaning of the line. In other words, the reader of this kind of poetry can hear two kinds of music: first the prosodic music made by arrangement of short and long syllables; other, the music made by ordered caesuras. The functions of caesura The main functions of caesura in Persian poetry meter are: - Calling to reflection: Caesura makes reader of poem to pause, so it decreases the speed of reading and therefore, calls reader to reflect on the meaning. - Intensifying the rhythm: Contrary to the first function, caesura could be a main factor of intensifying the rhythm. In this case, on the one hand the frequency of caesuras increases and on the other hand, their places occur in the end of prosodic elements; so both kinds of music (made by caesura and prosodic meter) will intensify the rhythm. درنگ شعری (Caesura)، وقفه یا مکث در سطری از شعر است که میتوان آن را در اشعار زبانهای مختلف یافت؛ در شعر فارسی، تا کنون چندان به مبحث درنگ توجه نشده و رابطهی آن با وزن شعر، تبیین نگردیده است. در شعر عروضی فارسی، مهمترین محل ظهور درنگ‌های شعری، در حدفاصل دو مصراع بیت و در میانهی مصراعهایی است که وزن دوری دارند. این مقاله، به بررسی سایر درنگهای درونمصراعی پرداخته است. درنگها را میتوان بر اساس رابطهی میان آنها و وزن شعر عروضی فارسی، به دو نوع تقسیم کرد: درنگهای اجباری و درنگهای اختیاری. درنگ اجباری، مختص اوزانی است که فقط از هجای بلند تشکیل شده‌اند. در این اوزان، درنگ در ایجاد وزن شعر، نقشی اساسی دارد و تغییر جایگاه آن، وزن شعر را مختل میکند. دیگر، درنگ اختیاری است که در اوزانی به وقوع میپیوندد که در آنها، هر دو نوع هجای کوتاه و بلند وجود دارد. در این اوزان، درنگها، ‌نقش مکمل و یاریگر وزن را بر عهده دارند و رعایت آنها، بر موسیقی شعر می‌افزاید.

https://liar.ui.ac.ir/article_19723_67784bb4d4e737323534d7f7d49637ab.pdf

دانشگاه اصفهان فنون ادبی 20088027 6 2 2014 11 22 A variety of amalgamated allusion in Saeb’s sonnet گونه‌ای کنایه آمیغی در غزل صائب 69 84 19722 FA سیاوش حق جو استادیار گروه زبان و ادبیات فارسی، دانشگاه مازندران مصطفی میردار رضایی دانشجوی کارشناسی ارشد زبان و ادبیات فارسی، دانشگاه مازندران Journal Article 2016 06 14 Poetic figures of speech are among the factors which their prominence in a poet’s poetry makes up his/her specific style. One of the figures of speech and poetic techniques is allusive figures of speech or amalgamated allusions. As the name entails, these are types of figures in which allusion is located at the center and amalgamates with other figures. Such amalgamation brings about a novel complicated figure of speech. One special type of allusive figures of speech is an allusion which is occasionally amalgamated with metaphor and ambiguity, and at times in addition to metaphor and ambiguity with simile. The origin of this figure, which is recently referred to as “metaphoric ambiguous allusion, is traced back to Hakim baz in Persian literature. Although, poetry of Hafez is replete with metaphoric ambiguous allusion, it is considerably ubiquitous in Indian style in a way that its ignorance especially in Saeb’s poetry implies the denial of one of its foremost stylistic qualities. The mixed nature of this figure and the presence of several robust figures besides each other which are the basis of poetic fantasy and a fantastic presentation is created by combination of these figures. These figures invite readers into a mode of reflection and thinking and opens corridors of fantasy towards him replete with unsurpassable satisfaction. Such amalgamated figure is formed when a poet grants an allusion to a phenomenon which in reality the phenomenon owns such quality but in a different conceptualization. Supposedly, the given figure was Saeb’s major artifact which helped him to fulfill his distinct poetic quality i.e. unsurpassed power of creating vivacious contents. The present article intended to conduct a supplementary reanalysis of “metaphoric ambiguous allusion and its different varieties and examined it in Saeb’s Poetry. Metaphoric ambiguous allusion refers to a metaphor which alludes to something. The characteristics of the allusion normally exist in the nature of the entity it alludes to. However, the real object of allusion does not exist in the reality of the thing it refers to. Thereby, metaphor is maintained in its original form. The analysis of metaphoric ambiguous allusion shows the following figures: Latent metaphor Allusion Reality Opacity It is notable to say that the necessary reality of allusion in entity to which a metaphor is addressed does not exist and only a similar feature to its necessary form may be proven. Bud tore away its skin and effloresced, though we such welfares did not tore any clothes though in this spring. In Persian tearing away skin is a human allusion, and in the given example, the poet have in mind the meaning not the form. Tearing away skin alludes to bud through a latent metaphor. The real practice of tearing away skin can be observed in a bud when it effloresces. The practice of bud while it is tearing away its skin has nothing to say about the meaning of the allusion in human domain of the statement. The necessary entity does not exist in bud, however, the reader sees the allusion in one hand and the manifestation similar to tearing-away-skin phenomenon in bud. The reader knows that this has not allusive feature and is a one-dimensional reality, so there is no necessity in it. Then the reader realizes that the text invites him understand an allusion in the statement. To do so, he needs to first, assume a necessity in the form within which there is no necessity. Second, he should have glimpse toward its real meaning without any necessity which leads to opacity. این جستار به تحلیل دوباره و تکمیلی صناعت «استعارة ایهامی کنایه» و انواع آن در غزل‌های صائب می‌پردازد. صناعات شعری از جمله عواملی هستند که برجستگی آنها در شعر هر شاعر، سبک منحصر و مختص به خود او را می‌سازد. یکی از انواع صناعات و شگردهای شعری، صنایع کنایهمحور یا کنایه‌های آمیغی است. این صورت‌های ادبی همانطور که از نامشان پیداست، صناعاتی آمیغیاند که در آنها کنایه به عنوان محور و مرکز با صناعاتی دیگر می‌آمیزد و این آمیختگی، صناعات پیچیدة تازهای را فراهم می‌آورد. یکی از انواع این صنایع کنایه‌محور، کنایه‌ای است که با استعاره و ایهام و گاه افزون بر این دو با تشبیه می‌آمیزد؛ سابقة این صناعت- که اخیراً نام «استعارۀ ایهامی کنایه» برای آن پیشنهاد شده‌ است ـ در ادب فارسی به حکیمِ باژ، باز می‌رود و در شعر حافظ، نمود بارزی دارد، ولی برجستگی چشمگیر آن در سبک هندی است؛ به‌گونه‌ای که نادیده انگاشتن آن به‌ویژه در غزل صائب، انکار یکی از برجسته‌ترین ویژگی‌های سبکی آن است. این شگرد آمیغی از این طریق پدید میآید که شاعر کنایهای را به پدیده‌ای عاریت ‌دهد که در عالم واقع، صورتی همانند آن، ولی با مفهومی دیگر، در خود پدیده باشد. در این پژوهش دریافته خواهد شد که این صناعت، از مهم‌ترین ابزارهایی است که صائب را در آشکار کردن ویژگی ممتاز شاعرانة خود، یعنی توان بی‌نهایت‌وارِ خلق مضمون‌های رنگین، یاری کرده ‌است.

https://liar.ui.ac.ir/article_19722_33bf6894cd6b1759957122cbe471e81d.pdf

دانشگاه اصفهان فنون ادبی 20088027 6 2 2014 11 22 Another Look at Literary Tazkares (A discussion about the typology of literary tazkares and proposing a model for classifying them) گذری دیگرگون بر تذکره‌های ادبی (بحثی در باب گونه‌شناسی تذکره‌های ادبی و ارائة طرحی برای تقسیم‌بندی آنها) 85 104 19725 FA سعید شفیعیون استادیار گروه زبان و ادبیات فارسی، دانشگاه اصفهان Journal Article 2016 06 14 Tazkares (anthologies), besides being one of the most basic research sources in literary sciences and being among original historical cultural sources, have generally artistic values due to their literary content and skill of their authors. Moreover, since they are sequential sources and under the influence of previous works, they also follow explicit and implicit criteria and patterns which sometimes promote them even to the level of a genre. Finding structural criteria and generic patterns of Tazkares is not an easy task because the nature of literary Tazkares is to some extent non-literary and overlaps with history and other human sciences and always wants to return to its main non-literary origins. On the other hand, since poetry and literature have been super-media in the classic world and consequently various groups of people in different periods liked them, an enormous fair of them has come into existence throughout time which has had different color and description for its customers and visitors. This matter creates many problems in the so-called literary decadence period. Due to this, generic criteria of Tazkares either remained unknown or were forgotten after the appearance of non-poets. At this point, the researcher faces contradictions repeatedly because he cannot eliminate such instances, on the one hand, and cannot gain theoretical coherence by considering them, on the other. Thus, the best possible solution is to consider separate validity for each research example and, indeed, consider prototypical and standard examples as the base of research and evaluate weaker examples as indication or extension of the main issue. Assuming that constituents of a genre, from the most trivial and secondary to the main ones, can be studied regarding form, content and presentation, literary Tazkares can be explored as following: regarding the form, elements such as order and organization, volume, independence, literary aspect and shape can be investigated; regarding the content, macro factors like title of the work and its chapters, preface and examples, subject, tone, originality and accuracy can be studied. Accordingly, there are detailed and brief Tazkares (with regard to volume), independent and implicit Tazkares (regarding independence), simple, elaborated and poetic Tazkares (with regard to literary aspect), and plain and illustrated Tazkares (with regard to shape). If content is considered, Tazkares are classified into general and exclusive (regarding inclusion), parodied and serious (regarding tone), research-critical, Talkhisi, Montahel, Motarjam and Zeili (regarding originality). The criterion of presentation is mostly influential in the process of generic evolution and transformation. تذکره‌های ادبی، یکی از مهم‌ترین منابع تحقیقی در حوزه زبان و ادبیات فارسی و حتی مباحث اجتماعی و تاریخی‌اند که در سطح معمول خود، ساختی دستورمند و معیارین دارند. البته این معیارها بسیار ظریف و پنهان‌طورند و ساحات معنی تا صورت را شامل می‌شوند. در واقع تذکره‌نویس بر اساس قواعد نانوشته پنهان، باید اثری را فراهم ‌آورد که از حیث موضوع و مضمون، انشا و لحن و حتی تدوین و تبویب کتاب، اصولمند باشد، وگرنه آن اثر با همه فواید محتملش، زیر چوبه و کوبه ناقدان و حریفان، خرد و خاکستر می‌شود. نگارنده در این مجال سعی دارد تا در کنار بازشناخت معیارها و سازه‌های تذکره‌ها به‌عنوان یک گونه ادبی، همچنین به رده‌بندی انواع موجود آنها دست یازد.

https://liar.ui.ac.ir/article_19725_c076e9c49fe5bf0da7660259b542a4a0.pdf

دانشگاه اصفهان فنون ادبی 20088027 6 2 2014 11 22 Introducing Kholasat ol-Maqamat and its stylistic and lingual characteristics معرفی نسخه خطی خلاصه المقامات و وی‍‍ژگ‍ی های سبکی و زبانی آن 105 120 19720 FA زهره نیک سیر دانش آموخته کارشناسی ارشد زبان و ادبیات فارسی، دانشگاه فردوسی مشهد سید عباس محمدزاده رضایی استادیار گروه زبان و ادبیات فارسی، دانشگاه فردوسی مشهد Journal Article 2016 06 14 Kholasatol-Maqamat is a manuscript on spiritual stations of famous mystic and Sofi, Sheikh Ahmad Jam. This manuscript has been written by Ab ol-Makarem Ibn Ala’ ol-MolkJami, one of Sheikh Ahmad's descendants, in the time of Shahrokh Mirza’s reign (840) to whom that manuscript was presented. The style of this book is similar to that of Asrar ot-Towhid and as it appears from its name, it is a concise of some books on maqamat written in Sheikh Jam's time. Therefore, maqamt is a name applied generally to papers written about spiritual stations of special characters. Historically, it so happened that this work probably belongs to Sheikh Ahmad's time, because at that time or afterwards some books have been written on his spiritual stations which wewill point out. Webelieve works of this kind which has been written afterwards, such as Asrar ot-Towhid on Abu Saeed'sspiritual stations are affected by the method of maqamat-writing in the time of Ahmad Jam, and Kholasatol-Maqamat is an anthology of early works on this subject. To write this book, Ala’ ol-Molk, in addition to Mohammad Ghaznavi's Maqamat which is a description of the Ahmad Jam's Maqamat, has used four Maqamats: Imam razi od-Din Ilias Taybadi's Maqamat, Sheikh Ahmad Tarkhestani's Maqamat, Taj ed-Din Mahmoud buzjani's Maqamat and Darwish Ali Buzjani's Maqamat. Moreover, he has benefited from Khaje Mohammad Heisam’s History, Jame’ ol-Osul, Some of Sihahe Sitte and Masanid Arba’e, apparently complete works of Several poets including Sheikh Attar Neishaburi and also some works of Sheikh Jam (Ons ot-Taebin, Seraj os-Sa’erin, Rawzat ol-Moznebin, Konuz ol-Hekme, Miftah on-Nijat, Bihar ol-Haqiqe and a collection of Sheikh Jam’s poems). Additionally, this book contains mystical, geographical, historical benefits and stylistic and lingual characteristics. This manuscript is distinguishable for some reasons such as availability of some other manuscripts titled maqamat of which the author made used, all have been written in jam's time by his cohorts. Each of them has a great value, since that time is probably the beginning of writing maqamat. Because on the basis of notes remained, Ala’ol-Molk has used four maqamats named Imam Razi od-Din Ilias Taibadi, Sheikh Ahmad Tarkhestani, Darvish Ali Buzjani that now there is no information about. This point increases the value of Kholasatol-Maqamat. He had also some of his ancestor's works that contain more accurate and detailed subjects as well as more complete information about family and descendents of Sheikh than Mohammad Ghaznavi's Maqamat. Three manuscripts of Kholasatol-Maqamat are available with different mode of hand writing: Manuscript in Ganj Bakhsh library of Lahur, manuscript in theology faculty of University of Mashhad and digital library of parliament. Finally, necessary to say, this manuscript indicates Sheikh's spiritual stations happened to and written by his cohorts at that time. Since that papers except Mohammad Ghaznavi's Maqamat have been disappeared, Kholasatol-Maqamat which is the extract of those maqamats could be known as the most important and exquisite manuscript about Sheikh's spiritual stations and Keramat. Actually, recognition, introduction and emendation of this manuscript will be an effective and fruitful step to know more about Sheikh Ahmad Jam and his spiritual stations and tunes and the style of writing maqamat which is of high importance for researchers in getting information about Sheikh's dignity and styles of writing maqamat. There is a hope that this book has the success of unveiling. خلاصه المقامات تألیفی است دربارۀ احوال شیخ احمد جام (ژنده پیل) مشتمل بر سه مقاله حاوی سی و چهار باب و یک فصل. علاءالملک جامی- از نوادگان شیخ احمد جام- این تألیف را با الهام از اشاره جد خود در سال 840 هجری قمری و در روزگار شاهرخ بهادر تیموری(14 ربیع الثانی 776- ذی الحجه 850 هـ ق)، تألیف نموده و به وی تقدیم کرده است. علاءالملک در تألیف این کتاب علاوه بر مقامات محمّد غزنوی- که آن هم شرحی از مقامات احمد جام است- از چهار مقامات به نام های: مقامات امام رضی الدّین الیاس تایبادی، مقامات شیخ احمد ترخستانی، مقامات درویش علی بوزجانی و مقامات تاج الدّین محمود بوزجانی استفاده نموده؛ همچنین از تاریخ خواجه محمّد هیصم، جامع الاصول، بعضی از صحاح ستّه و مسانید اربعه و ظاهراً دیوان چند تن از شعرا از جمله عطار نیشابوری و همچنین برخی تألیفات شیخ جام (انس التّایبین، سراج السّایرین، روضه المذنبین، کنوز الحکمه، مفتاح النّجات و بحارالحقیقه و همچنین مجموعه اشعار شیخ جام) بهره برده است. به علاوه این کتاب دارای فواید عرفانی، جغرافیایی، تاریخی و ویژگی های خاص سبکی و زبانی است که در مقاله بدانها اشاره شده است. از خلاصه المقامات چند نسخۀ خطی موجود است، از جملۀ آن ها می توان به نسخه خطی کتابخانۀ گنج بخش لاهور، نسخه خطی دانشکده الهیات مشهد و نسخۀ مجلس شورای اسلامی اشاره کرد که مقاله در جای خود به معرفی آن ها پرداختـه است.

https://liar.ui.ac.ir/article_19720_1c6ed929fb43cd21e7ba21671409a851.pdf

دانشگاه اصفهان فنون ادبی 20088027 6 2 2014 11 22 Simile: the most salient stylistic feature in Kelile and Demne تشبیه برجسته ترین ویژگی سبکی کلیله و دمنه 121 132 19724 FA مریم محمودی استادیار گروه زبان و ادبیات فارسی، دانشگاه آزاد اسلامی دهاقان Journal Article 2016 06 14 Kelile and Demne is one of the most salient samples of Persian technical prose rhetorical and semantic figures and figures of speech namely simile, metaphor, metonymy and irony are among the stylistic features of this book. Among these, simile, as the most influential imagination tool, play a dominant role in the illustrations of the book. In this article, simile has been analyzed and investigated in all its variations in Kelile and Demne. In this book, simile appears from its most laconic form (eloquent simile) to its most extensive form. But the major feature of theirs is their outspokenness, explicitness and sometimes their novelty. Among the likening components, the range of image vocabulary is one of the likening features in this book. Also the point of similarity has been usually abstracted from man's states, shape, place, space, volume and generally affairs concerning visual and tactile senses. So, its perception is not too much difficult. The variety and extension of likening vehicles in this work are worth of contemplating. In analysis of simile on the credit of both parties, we can conclude that ratio-emotional similes are of the most frequent kinds of simile. And Nasrollah Monshi has extended the field of emotional similes and has manipulated the relations between objects in a novel way. Allegoric simile has been used abundantly in Kelile and Demne. It justifies the didactic function of this text. Allegory approaches its main role in this book. i.e. arguing and convincing. The contents of allegories in this book are moral and political and in terms of from, they are anecdotes of animals and human beings. The types of similes on the credit of form - namely equalization similes implied comparative similes and subtrahend similes - have been also used. Among the salient features of this book, several images together or in interference with each other have been used in one word or sentence. Sometimes similes accompany other rhetorical factors e.g. Metaphor, irony, symmetry, etc. And this reinforces the imaginative aspect of speech and sometimes leads to the complexity of its contents. In general, we can say that simile in Kelile and Demne is one of the main factors of imagination and the center of gravity of illustration. The main goal of the writer of this book is practicing the social and moral meanings and concepts. Therefore, although the writing style of this book justifies the attention paid to the aesthetical aspects of simile, the main goals with using them are illumination and explanation. For this reason, in this book, similes, despite their multiplicity, their vanity, their blend with the verbal and semantic orders and their pictorial intricacy are devoid of any kind of abstruseness and complexity. کلیله و دمنه از نمونه های برجستۀ نثر فنی فارسی است . کاربرد صنایع لفظی و معنوی و صور خیال از جمله تشبیه ، استعاره، مجاز و کنایه از ویژگی های سبکی این کتاب است . در این بین تشبیه به عنوان موثرترین ابزار تخیل نقش عمده ای در تصویر سازی های این کتاب دارد . در این مقاله تشبیه با انواع گوناگون آن در کلیله و دمنه مورد بررسی و تحلیل قرار گرفته است . تشبیه در این کتاب به صورت فشرده و گسترده به کار رفته است . وسعت دایره واژگانی مشبه به به عنوان کانون اصلی تشبیه قابل تامل است . در کاربرد ادات تشبیه توجه به زیبایی و آراستگی کلام مورد توجه است . تشبیهات عقلی به حسی بیشترین بسامد را در این کتاب دارد همچنین تشبیه مرکب و تشبیه تمثیل جایگاهی در خور تامل در بین تصاویر تشبیهی دارد . به طور کلی نتیجه این تحقیق بیانگر آن است که تشبیه در کتاب کلیله و دمنه در کنار سایر صور خیال ابزاری مهم و سودمند در خدمت بیان اندیشه و مفاهیم تعلیمی این کتاب است هر چند جنبه های زیبایی شناختی این تصاویر نیز مورد نظر بوده است.

https://liar.ui.ac.ir/article_19724_2b5efe4400c4bc90ec27c04a423502da.pdf

دانشگاه اصفهان فنون ادبی 20088027 6 2 2014 11 22 The Role of Allegory (Tamsil) in the stories of Mathnavi Ma’navi نقش تمثیل در داستان‌های مثنوی معنوی 133 146 19727 FA ماه نظری استادیار گروه زبان و ادبیات فارسی، دانشگاه آزاد اسلامی واحد کرج Journal Article 2016 06 14 Tamsil (allegory), which has been mostly inspired by religion and myth, forms a great part of the mystical verses of Persian classical literature. Tamsil (allegory) is mainly defined in literature as an anecdote used for explaining and interpreting mystical and moral beliefs. Besides, Tamsil is considered as a sample of didactic and imaginary literature. Molana’s language and expression is more of symbolic allegory (Tamsil e Ramzi), a kind of allegory presenting a character, a thought, an event or a happening in the tangible world on the one hand, and explaining a topic beyond this appearance on the other hand. Such allegorical stories are both pleasurable and influential. Furthermore, they help to simplify the concepts and ideas which are a little complicated to the lay mind. As Shafiei Kadkani puts it, Tamsil can be used to refer to what western rhetoric calls allegory, and it is mainly used in the field of narrative literature. Tamsil (allegory) is divided into two main categories, namely, political (historical) allegory and the allegory of ideas. In the former, the characters and the actions of the surface level represent the characters or the political and historical events of the underlying level. As an Example one can refer to “Absalom and Achitophel”, written by “Dryden”, whose topic is the political crisis of the then England. In the latter type, that is, the allegory of ideas, the characters are like mental concepts, as an example, Milton’s Paradise Lost in which there is a clash between Satan and his daughter, sin, can be mentioned. In Persian and Arabic rhetorical discussions, Tamsil (allegory) is similar to simile and metaphor and does not go beyond one or some sentences. But in Persian belles-lettres, the term “Tamsil” has been usually along with anecdotes and stories. In this sense, Tamsil has the same meaning as what Aristotle has mentioned in his book “Rhetoric” and also the same as what we here call “fictional allegory”, since “the vehicle” in Mathnavi Ma’navi is compound and is of allegorical and anecdotal nature and “the tenor” is a logical and compound fact which needs a compound and tangible vehicle in order to be expressed and proved. Fictional allegory is used for typifying a particular class of the society, with special way of thinking and activities. As the majority of the readers are the masses, poets translate the symbols. The interpretation of an allegory is sometimes mentioned in the title of Mowlana’s stories and by interpreting an allegory, Mowlana expresses causality, as we can see in the story of Sheikh Ahmad Khizrawiya: Only when the sweet (Halva) seller boy weeps a lot Will the oceans of God’s mercy be brought to the melting pot Tamsil (allegory) is a combination of different factors and elements which are formed by the narrative. This narrative is an image of a thought, of a situation, of a message, or of an abstract concept which is formed within the framework of the activities and characters of human beings, animals, plants or even inanimate beings. Although Mowlavi has used a wide variety of literary devices, with which westerners dealt hundreds of years after him, the diversity of methods, the characterization in the stories of Mathnavi Ma’navi, and also the categorization of such allegorical stories have not been paid much attention in past. Apart from fable, parable, and exemplum which are considered as western types, Mowlavi has used some other methods including report manifestation[1], anthropological allegories, and paradoxical elements to create more allegorical stories. The main characters in some of the allegorical stories are human beings, as in the story of the Old Harper, the Arab Dervish (Sufi) and his wife, the man who was tattooed, the man who knocked at the door of a friend, the Grammarian and the Sailor, the deaf man and his sick neighbor, the Arab filling a bag with sand, and the like. As an example, in the story of “the Chinese and the Roman Artists”, Mowlana puts the Chinese and the Romans against each other and he thinks that the knowledge of the people of sense who are busy with disputation is not certain compared with the knowledge of the people of heart who rely on the purification of the inner self. The basis of such allegories is sometimes an event in which the human beings and the animals together are the main characters, as in the story of the oilman and his parrot, the Hoopoe and Solomon, the Merchant and his parrot, the man who stole a snake from a snake-catcher, the villager who stroke a lion in darkness as he conceived it as his cow, and the like. There are 53 allegorical stories in Mathnavi, in which the main characters are animals which think like human beings and act according to their natural features, representing a particular class of human societies. In such stories a spiritual parallel takes us from the appearance of the sentence to the allegorical meaning beneath and a moral point is also presented, as in the story of the lion and the beasts, the story of the mosquito and the story of the lion which hunted with the wolf and the fox, and the like. Another kind of allegory is exemplum which is a very famous story whose tenor and its underlying meaning as well as its moral will be realized by the listener as soon as he or she hears the whole or a part of it, like the story of “the bear’s service” which is mentioned about foolish kindness or the story of “the fox and the tail fat” which shows temptation and greediness or the story of “the peacock’s feather and the peacock’s wing or the deer in an ass stable”, or the Falcon and the Owls, and the like. Parable is a short narrative which closely resembles a moral, religious or mystical principle; hence, it is expressed by prophets, mystics and great men. Compared with fable, parable is more exalted. In the story of “Moses and the Shepherd”, Moses is law-bringing and also has a divine mission and the shepherd’s communion with God, which is criticized by fanatics, is the exemplar of intimates and it is based on simile. Paradox forms a remarkable part of Mowlavi’s allegorical stories. It is one of devices Molana used for foregrounding utterances and also for expressing mental concepts indirectly. In the story of the far-sighted blind, the blind man sees the faults of others from a distance (but, he is blind to his own faults), the sharp hearing deaf is the symbol of yearning and greediness and the long-robed naked man is one of the deluded of this transitory world. In this anecdote, the poet has explained very briefly the story of the people of Saba who gave no thanks to God for his blessings and rebelled. [1] In this method the poet reports the meaning of a Koranic verse either by interpreting or translating. Generally speaking, the word ‘manifestation’ refers to the manifestation of holy Koran in Mathnavi Ma’navi. تمثیل بخش اعظم منظومه‌های عرفانی ادبیات کهن را دربرمی‌گیرد که اکثر مآخذ آنها دین و اسطوره است. تمثیل، در داستان‌های مثنوی معنوی و حتی در غزلیّات مولانا، جایگاه والایی دارد. تمثیلی که در ادبیات مدّ نظر است، بیشتر حکایاتی در جهت توضیح و تفسیر اعتقادات اخلاقی و عرفانی است که نمونه‌ای از ادبیّات تعلیمی تخیّلی محسوب می‌شوند تا جاذبه بیشتری داشته باشند. در حقیقت، زبان و بیان مولانا بیشتر به شیوه تمثیل رمزی، یعنی ارائۀ یک شخصیّت، اندیشه یا حادثه و اتفاقی، در دنیای ملموس از یک سو و بیان موضوعی فراسوی ظاهر آن است. رمز در تمثیل، بیانِ یک معنی یا نشان‌دهندۀ شیء خاص و غیرمحسوس است. حکایات مثنوی معنوی، بیشتر از نوع «تمثیل آرا و عقاید»ند که در آن شخصیّت‌ها مفاهیم انتزاعی را مُمثّل می‌کنند. در این صورت معمولاً پیرنگِ اثر در خدمت انتقال آموزه و عقیده‌ای است که آیات و احادیث را در قالب تمثیل، شعر، برهان و عرفان، تفسیر و بیان می‌کند. در این مقاله سعی داریم انواع تمثیل را در اشعار مثنوی با توجه به تقسیم‌بندی غربیان با زیر مجموعه‌های، فابل، پارابل، اگزمپلوم و فراتر از این انطباق به صورتِ تأویل، اثرپذیری گزارشی و تناقض، با ذکر نمونه‌هایی بررسی کنیم.

https://liar.ui.ac.ir/article_19727_499e7431369d2723067697124618156b.pdf