پديد آورندگان :
عباسي، مرتضي دانشگاه اصفهان - دانشكده ادبيّات و علوم انساني - گروه زبان و ادبيّات فارسي، اصفهان، ايران , شريفي ولداني، غلامحسين دانشگاه اصفهان - دانشكده ادبيّات و علوم انساني - گروه زبان و ادبيّات فارسي، اصفهان، ايران , خوشحال دستجردي، طاهره دانشگاه اصفهان - دانشكده ادبيّات و علوم انساني - گروه زبان و ادبيّات فارسي، اصفهان، ايران
چكيده لاتين :
It seems that the more written about Sa’adi, the more understudied the dark corners of his situation will be. This study, however, seeks to answer the same question as to why extensive research on the discovery and enlightenment of a subject (in this case Sa’adi’s lyrical elements in Ghazaliat) sometimes yields the opposite result. Does lyricality depend on the use of a particular word or combination? Does it require a particular sentence and style? or does it arise from something other than these?
Poetics or literary style and types have been the main topics of literary criticism since ancient times and are as old as the schools of thought, Greek philosophy, and literature. In this field, which is characterized by a kind of literary style, each work belongs to the same type according to its characteristics, which knowing it helps the audience in the first stage by aligning the choice with personal taste.
Among the literary genres, one type belongs to the ‘lyrics’. With its special elements and aspects, it includes a wide range of literary works, and ghazal forms a large part of this wide range. In Persian literature, it has a special deep connection with Sa’adi. But what is lyricality and what is the definition of lyrical literature? Also, what elements cause the existence of collections such as Sa’adi Ghazali's lyric poems? This study investigated the elements and components (verbal and semantic) that have fully benefited Sa’adi’s lyrical poems and lyrical layers. The aim of this study, while giving a comprehensive definition of poetics and the type of lyrical literature, is to discover and categorize the most common elements and criteria of Sa’adi’s lyrical poems, which has given them a special view. In this study, in addition to relying on existing definitions, examples are given and compared with each other.
Since there is still no clear picture of Sa’adi's language, especially his lyrical poems, it is necessary to pay attention to the elements and characteristics that are lyrical in a work, especially Sa’adi's sonnets (Ghazals). The definition of ‘lyrics’, at first glance, uses ‘feelings’ as a means of measurement. Undoubtedly, the application of emotion as a criterion to a large extent encompasses the scope of inclusion. Examples are anger and hatred, boredom and sadness, despair, disappointment, etc. However, it seems that a poem that expresses the poet's despair cannot be considered lyrical, or one can hardly consider a poem written in someone’s mourning as a lyrical poem because the general idea of lyricality is useful for a pleasant meaning. Therefore, it is necessary to look at the more detailed factors that are involved in the attribution of language to a literary type of small and sometimes intangible motifs. The fact that, for example, some part of Saadi's language is part of lyrical literature and some part is not, inevitably must be related to much more detailed elements that may not be seen at first glance.
Moreover, the other issue is the structure of lyrical literature, which, with the help of the summary of all definitions and with the focus on ‘boiling and the concentration of emotion’, encompasses all the manifestations of man's five inner senses and widens the scope of inclusion. This study uses the opinions of researchers about the style and lyrical literature relying on Sa’adi's language in any subject that has the potential to belong to a type of literature, to the extent possible to define and explain the boundaries of feelings and literature. In this research, in order to cite the abundant evidence and special studies, after assigning Sa’adi's lyrics to the type of lyrical literature, we first look at its structure and then obtain the types of lyrical literature in it. To sum up, this kind of attitude towards Sa’adi's ghazals, revolving around a new perspective and using the poetic analysis method and comprehensive structural study of the lyrical elements of language, explains the non-bordered quality and scope of lyrical pleasant themes.
