Document Type : علمی- پژوهشی
Authors
1 Assistant Professor of Persian Language and Literature/ Salman Farsi University of Kazerun, Iran
2 Assistant Professor of Persian Language and Literature/ Zahedshahr Branch/ Islamic Azad University/ Zahedshahr. Iran
Abstract
The image as part of the message is the affect intermediate between the speaker and the audience. Examining the components of the image and its impact on the audience can inform us about the amount of emotion and affection of the poet; The diversity and dynamism of the image leads to its permanence in the minds of the audience and, as a result, conveying more affection. The diversity of the image, on the one hand, shows that the speaker has experienced it with all his senses, and on the other hand, it enables the audience to receive the message with various sensory receptors. In the present paper, we first review the theories related to affection, image, demilitarization, and their interactions with each other and with the audience; Then, a variety of verbal, visual and vocal images, cinematic images, and transformation in the vertical axis of imagination, identification through the image as well as the components of the image, such as verbs, the image of words and colors, and their connection with Rumi’s affection and emotion in Shams' sonnets are investigated.
Highlights
Studying the Relationship between Emotion and Image in Shams's Ghazals
Dr. Ziba Ghalavandi
Assistant Professor of Persian Language and Literature, Salman Farsi University of Kazerun (Corresponding Author)
Dr. Mohsen NourepisheGhadimi
Department of Persian Language and Literature, Islamic Azad University, ZahedShahr Branch, Iran
Abstract
The image, as a part of the message, is the emotional mediator of the speaker and the audience. Studying the components of the image and its effect on the audience can inform us about the extent of the poet's emotion and affect.The variety and dynamics of the image make it last longer in the audience's mind and thus transfers much more emotional content. This article first reviews the theories related to affect and image and their interactions with each other and with the audience.Then a variety of linguistic, kinetic and acoustic imagery, animated imagery and transformation in the vertical axis of imagination, identification through images as well as the components of the image, such as verbs, image-words, and their relation to Rumi's affections and emotions in Shams' ghazals are studied. In contrast to theories that consider linguistic imagery inferior and the sensory imagery as superficial, Rumi has been able to express both the depth of his emotion and to reach the audience’s deep feelings with these images.
Keywords: Emotion, Illustration, Shams' Ghazals, Rumi
Introduction
Undoubtedly one of the most important and fundamental elements of poetry is the element of emotion and affect that has linked the formation of poetry to its connection with imagination in the rhythmic language (Shafiei Kadkani, 2004: 86). But few studies in Persian literature are devoted to the affect element in poetry, while many books have been written on other elements of poetry, such as imaginary forms and music of poetry (i.e., imagination and song). By studying existing theories about the strong link between emotion and other components of poetry, we come to the conclusion that one must understand the extent of the poet's emotion and affect through tangible intermediaries (fantasies and images). Previous studies have investigated the subject of images in Shams's ghazals, but they have not addressed other forms of imagery such as transformation (converting the elements of poetry to one another in the vertical axis) and linguistic images and their relation to emotion. Also, the relationship between identification in implications with emotion type has not yielded a definite result; which is the topic of investigation in this attempt.
Method
Data collection was done through careful study of the theories in printed and electronic sources, using research and note-taking tools. The statistical sample is evaluated by theories and analyzed through deductive reasoning by providing evidence, bookmarking and comparison.
Objectives
The main purpose of the research is to find the connection between the imagery components of Shams's ghazals with emotion and affect; and to find the type of Rumi's affections to Shams by examining the frequencies of his identification in implications which have high frequencies in these ghazals.
Findings and Conclusion
In contrast to theories that consider linguistic imagery inferior and the sensory imagery as superficial, Rumi has been able to express both the depth of his emotion and to reach the audience’s deep feelings with these images.Molavi in Shams’s ghazals, with identification in similes and implications and their variety, shows that these kinds of images can be as effective as metaphors in lyric poetry in expressing emotion and inner feelings. From the frequency of the name of Yusuf, with the most frequent repetition in Kolliat-e Shams, it can be concluded that the kind of Rumi's affection to Shams is that of father and child, and that of Rumi is the feeling of a father who has lost his son. The images of Rumi's poetry are vibrant and dynamic; they do not stop at the level of the beat; they continue on the vertical axis of the poem and therefore penetrate in the soul of the audience; He has experienced them with all his senses, and his images encompass all the senses of the audience; all sorts of motion, sound, color, smell, taste, subtlety, etc. are the components of his poetic images and their frequency reflects his deep emotional experience.
Persian resources
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English resources
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