Introduction

Shams al-Din Mohammad Asiri Lahiji Noorbakhshi was an Iranian mystic in the 9th and 10th centuries AH. His poetic characteristics have been less studied; the study and research into the Lahiji style reveals the evolution of the Persian poetic style in the late 9th century AH. Therefore, in the present study, an attempt has been made to examine the stylistic features of the Masnavi "Asrar al-Shuhud" at three levels: linguistic, literary, and intellectual.
 

Research Methodology

Given its theoretical nature, the present study was conducted using a descriptive-analytical method and based on library and electronic studies. The target population and scope is the book Asrar al-Shuhod by Asiri Lahiji, with the correction and introduction by Seyyed Ali Al-Dawood.
 

Discuss

The language of Lahiji's poetry is simple and fluent. Linguistically one of Masnavi weight has been observed in composing this Masnavi. In this Masnavi, ancient vocabulary and linguistic features are rarely found. Love is the poet's main theme. The widespread repetition of the word love is evidence of its importance in Lahiji's ideas and in Islamic mysticism. From a literary perspective, simile and metaphor are the most frequent rhetorical techniques in a poet's words. The frequency of "allusion of verb" is also higher than other allusions. In this Masnavi, Lahiji has dealt with the themes of Islamic mysticism and morality, in line with the intellectual characteristics of the Iraqi style. His poetic language is simple and fluent. It seems that Lahiji has benefited greatly from the verses with Radif in this Masnavi. The main reason for the high frequency of Radif in this Masnavi is to help enrich the external music of the work. In using puns, he has used its various forms, which shows the poet's proficiency in using similar words. The repetition of the word love in this Masnavi indicates the importance of this theme in Lahiji's style. From a literary point of view, considering the moral themes and the propagation of mystical beliefs, it seems that Lahiji has deliberately used simple similes that are more likely to benefit from mystical meanings than to create pleasure and aesthetic processing.
 

Conclusion

Linguistically, the Bahr-e-Ramal-e-Masadas-e-Mahduf (Masnavi weight) has been observed in composing this Masnavi. In Moradaf verses, the "verb Radif" has a higher frequency than the compound, verbal, nominal, and interrogative rows. To enhance the inner music of the poems, the poet has used the creative arts of repetition, phonetics, puns, alliteration, and contrast. In using puns, he has used various types of them, which shows the poet's proficiency in using similar words. The frequency of sensory-to-sensory and intellectual-to-sensory similes is higher than the other two types. Direct and detailed similes, due to their similarity to objects and features, have a higher frequency than other similes. But many of the similes in Asrar al-Shuhud are in the form of metaphors. The poet has used objects, nature, and human elements in his imagery. Most of the metaphors used to convey dynamism and greater understanding are metaphors of action. In allusion and omission of specification, the frequency of allusion to the verb is higher than that of allusion to the predicate and adjective. It is believed that the choice of this type of irony reflects the poet's logic in using common language to make the expression more eloquent in order to more easily understand moral and mystical concepts. Intellectually, Lahiji has devoted most of his themes to Islamic mysticism, including the teachings of the pilgrims, following the sages, Sufi ethics and morals, unity of existence, the perfect human being, extinction and survival, the mirror of manifestation, Dervish themes, submission and contentment.