چکیده:
The literary language is one of the linguistic genres that speaks of a specific experimental and conceptual domain. The reason is that one can merely discover the literary language of objects within the domain of conceptual texts، and within the allusive and symbolic relations. What is in fact considered as the pleasant and nice part of the literary word roots from these deep and internal layers of the conceptual and passionate parts of the work as reflected in the language. One of the means and functional devices of the literary word that possesses a vast potential in the symbolical expression of pictures and concepts is "allegory” which has found a considerable power in Rumi's Massnavi Ma'anavi. Apparently، the structure of the stories in Massnavi shows that the speaker has had the concealed and inner concepts of the words in mind. The order of the elements، the incidents and the phrases within the allegorical narratives in Massnavi is in a manner through which the audience will be led towards the concealed and implied concepts in the depth of the narratives; due to the coordination between the artist and the art-seeker. This research intends to respond to two questions; 1.What is the precise concept of allegory and allegorical literature? Moreover، what are its practical functioning fields and areas? 2.In what method has Rumi utilized the allegorical potential of the narratives related to Prophet Mohammad? The criteria for choosing and selecting the narratives have been the prominence of the narratives in enjoying allegory.
خلاصه ماشینی:
Therefore, due to the complexity of the internal process of thought compared to "speech," which is considered the direct reality of reflection, and the inability of non-literary language to express all the intentions of thought, literature (the art of speech) goes beyond the boundaries of verbal discourse and utilizes all human metaphorical and allegorical possibilities in the use of words, themes, and images; ultimately, the literary work, as one of the manifestations of art, turns into a symbol that guides the reader to the realm of mental concepts (Farzad, 1381: 15).
Main Characteristics of the Story: - Underlying theme of the story: Symbolic manifestation of the secrets of the unseen upon the disciple - Subject of the story: The question of the disciple and the response of the mentor - Characters: Two people: the disciple and the mentor - Event: Dialogue between the characters - Result: Awareness and realization of the disciple regarding the truth and the symbols of the matter Decoding the Allegory Outer layer, signifier, allegory, surface, symbol نبي اكرم(ص) عايشه(رض) Rain Khumar (Headcover) Meadow (2042) Spring wind and cold (2046) Fire (2064) Secretion (2070) Inner layer, signified, represented, infrastructure, mysterious Elder, mentor, perfect guide Disciple Divine inflows, divine graces Grace and protection of the elder Spiritual spring of the disciples' hearts Divine life-giving breaths and breezes Pure breaths and sighs of the saints Calamities, greed, and envy Alertness and awareness Story 2 (The story of the Prophet reaching the Arab caravan...
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