خلاصة:
According to the extensive and precise research of the masters in the field of Persian literature studies, Hakim Sanai Ghaznavi—the great poet of the fifth century—is among the first to blend romantic terminology with Sufi terminology and create a new design. On the other hand, in both the realms of love and mysticism, beauty is at its peak, and since woman is the manifest appearance of beauty, the beloved has always manifested in the form of a woman; for this reason, Sanai's approach to the concept of woman can be justified. Of course, in Sanai's poetry, woman, like other beings, is not considered an essential entity and only has a manifest aspect; meaning, if the evils of women are spoken of in his words, it is not proof of the inherent evil of women, and conversely, speaking of her virtues is not based on her innate purity. Given that among this poet's works, 'Hadiqat al-Haqiqa' is a more complete work in expressing Sanai's thoughts, this research has been conducted with reference to this mystical work.
ملخص الجهاز:
Since "Sanai is the first poet who blended Sufi thoughts, mystical terminology, and the discourse of masters with poetic tastes, brought them into the form of verse, and clothed the lofty words and heart-pleasing meanings of sages in rhythmic garments" (Modarres Razavi, 1377: Gaj) and his book Hadiqat al-Haqiqa, which "is also famous by the names Ilahi-nama and Fakhri-nama, and in its own type, is one of the important masterpieces of Persian literature and is the first mystical Masnavi that no one had composed in this bookish style before it" (Ashrafzadeh, 1381: 10) and is so weighty that "it has influenced the entire civilized world and has also achieved a lofty and honorable status in world literature, and a part of it has been translated into English" (Modarres Razavi, 1377: Kah), the visage of woman is examined in two different faces in this great work.