خلاصة:
Masnavi is the main form of storytelling in the Persian poetic literature, and is often ignored by other forms of poetry such as Ghazal and Rubachr('39')i. By studying poems like Sanachr('39')a, Attar, Rumi Rubachr('39')i ... we find that about 10% of our Rubaiyat (Attar 302 and Rumichr('39')s 203 Rabbis-Tales) have been dedicated to storytelling. In this article, through descriptive-analytic method, we examined different types of stories in the narrative Rubachr('39')i of these mystical poets. We conclude that although they contain natural, and so on verbal stories, the vast majority of narratives of these immortality are related to representing mystical experiences and intuitions. Due to the unity and passage of these experiences and the coherent and short-lived structure, the unity of form and content in the quatrains-tales is maximized, and one of the reasons for the attention of Sofia to the quatrains is the occasion of the form and the content of the intuitive narratives. According to their expressions, the narratives use the mystic lesson of the experiential and present on the scene more than the first person; However, a significant number of these stories are narrated in the second way, which is unique in the traditional Persian stories. In spite of the abbreviation of these narratives, we have a change in the angle of vision (even though we have) and even internal stories.
ملخص الجهاز:
The Evolution of the Quatrain-Story from Sanai to Rumi Mehdi Mohabbati */ Hamed Shokufegi ** The Masnavi is considered the primary form of storytelling in Persian verse literature, and the capabilities of other poetic forms such as the Ghazal and the Quatrain have usually been overlooked.
Sufis have contributed greatly to the popularity of this poetic form by composing quatrains, and the most prolific Persian quatrain poets, such as Attar, Rumi, and Ohud al-Din Kermani, have always been regarded as Sufi poets; furthermore, the tendency of Sufis to express their teachings through short and long mystical stories is something they all share.
Contrary to initial perceptions, an overview of the quatrain collections of the greatest mystical poets of Persian literature, such as Sanai, Attar, Rumi, or Ohud al-Din Kermani, reveals a significant volume of short mystical stories within their quatrains.
This indicates that these creative Persian-speaking poets, despite the limitations that have always existed in the realm of poetic form and structure, have been able to engage in storytelling even within a short form like the quatrain to satisfy the thirst and need that stems mostly from the depth of their authentic mystical experiences.
Of course, perhaps considering that most quatrain-stories are a narrative description of the poet's vision and intuitive experience, this may be acceptable, but interestingly, even characters such as Iblis (Satan) and the Nafs (self), which are always worthy of attention in the poetic and prose narratives of mystical literature, very rarely occur in narrative quatrains appear.
(
, 
, 
)
