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- آدرس کوتاه شده مقاله: https://bahareadab.com/article_id/2104
- کد IranDOI مقاله: IranDOI :10.irandoi.2002/bahareadab.2026 .19 .8389
volume Number : 19
number In Volume : 9
issue Number : 127
Journal of the stylistic of Persian poem and prose
volume Number 19،
number In Volume 9،
،
issue Number 127
Aesthetic-Making Mechanisms in Nizami’s Narrative Poetry: Verbal Music, Imagery, and Color
Marjan Musazadeh , Farhad Tahmasbi (Author in Charge), Fatemeh Pakrow
Abstract
BACKGROUND AND OBJECTIVES: Studies of the aesthetics of Nizami’s poetry have often examined music, imagery, color, or symbolic structure separately. Consequently, the relationship among these components and their contribution to narrative progression and meaning production has received comparatively less attention as an integrated system. The present study aims to elucidate the mechanisms through which three levels—verbal music, imagery, and color—interact and co-occur in Nizami’s narrative poetry.
METHODOLOGY: This qualitative study employs a descriptive-analytical textual approach. The primary corpus consists of Nizami’s Khamsa (Five Treasures), with the analysis focusing on salient examples from Makhzan al-Asrar (The Treasury of Secrets), Khosrow and Shirin, Layli and Majnun, Haft Paykar (The Seven Beauties), and Eskandarnameh (The Book of Alexander). The unit of analysis comprises individual verses or clusters of verses in which at least one phonological, imagistic, or color-structural indicator is activated. The textual evidence was selected purposively and examined in two stages: descriptive coding and functional interpretation.
FINDINGS: In Nizami’s poetry, music functions not merely as an ornamental acoustic feature but is closely associated with the modulation of scene rhythm, shifts in affect, and narrative transitions. Imagery likewise transforms abstract concepts into sensory experience and, through metaphor, simile, and synesthesia, reconstructs movement and light within the poetic language. In Haft Paykar, colors and the sequential structure of the number seven, beyond their role in arranging the visual setting, provide an organizational framework for narrative sequencing and the representation of the protagonist’s gradual transformation.
CONCLUSION: The defining feature of Nizami’s poetic method does not lie in the accumulation of rhetorical devices, but rather in his coordination of sound, imagery, and narrative architecture. Within this pattern, verbal form serves the advancement of the story, the direction of the reader’s perception, and the articulation of ethical meaning. Accordingly, beauty in Nizami’s poetry constitutes a structural and semantic phenomenon rather than an ornamental addition to the narrative.
Keyword
Nizami Ganjavi
, Aesthetics
, Poetic Music
, Imagery
, Color.
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