Document Type : Original Article
Author
Master's degree in Persian Language and Literature, Urmia University, Urmia, Iran.
10.22034/jmzf.2026.245538
Abstract
1. Introduction
Mystical literature is one of the most profound and influential fields of Iranian literature, in which inner experiences, mystical intuitions, and complex spiritual concepts are expressed in the form of literary and artistic language. Among the prominent works in this field, “Savanehol Oshagh” by Ahmad Ghazali holds a distinguished position; a work that has gained importance not only due to its mystical content and explanation of the concept of divine love, but also in terms of language, manner of expression, and stylistic structure, it is considered one of the distinctive texts of Sufi literature. In this work, Ahmad Ghazali places love as the fundamental axis of mystical experience and, with a concise, allusive language full of symbolic images, has tried to express an experience beyond reason and reasoning. Therefore, “Savanehol Oshagh” is not merely an educational or Sufi text, but is also considered a reflection of the author’s inner world and spiritual personality.
This research seeks to answer these questions: What are the foundations and principles of Leo Spitzer's stylistic theory and how can it be applied in the analysis of Persian mystical texts?
2. Methodology
This research is based on the descriptive-analytical method and utilizes the principles of Leo Spitzer's stylistics. The aim is to show how the linguistic and expressive features of "Savanehol Oshagh" reflect the introverted, love-oriented, and intuitive personality of Ahmad Ghazali and how a deeper understanding of his mystical worldview can be achieved through stylistic analysis.
3. Discussion
One of the most important stylistic features of Ahmad Ghazali’s Savanehol Oshagh is the strong presence of poetic language in the prose of this work. Although this book is written in prose, its linguistic structure is rich in poetic elements such as metaphor, simile, brevity, inner music, and semantic contrasts. “This very feature has caused the prose of “Savanehol Oshagh” to take on a form close to poetry. In fact, Ahmad Ghazali has used the aesthetic capacities of language to express mystical experiences and the inner states of the lover, because mystical experience often cannot be fully expressed in ordinary and logical language and requires symbolic and poetic expression” (Shafi’i Kadkani, 2008: 64).
In mystical texts, poetic language is a tool for conveying inner experiences and spiritual states. Mystics often use metaphors and poetic images to express concepts that are difficult to explain in logical terms. Ahmad al-Ghazali also used this method in his Savanehol Oshagh, expressing many mystical concepts in poetic images.
"The heart of a lover is the mirror of the beauty of the beloved."
In this sentence, the heart is likened to a mirror. In mystical literature, a mirror is a symbol of purity and the ability to perceive truth. When the lover's heart is cleansed of attachments, it can reflect the beauty of the beloved. This poetic image well shows how the author uses symbolic elements to express mystical experience.
4. Conclusion
An examination of Ahmad Ghazali’s Savanehol Oshagh from the perspective of Leo Spitzer’s personal stylistics shows that the language and structure of this work are not merely a means of conveying meaning, but are a direct reflection of the author’s mental world and mystical personality. Spitzer, in his theory of personal stylistics, emphasizes the principle that the linguistic features of a literary text originate from the author’s inner experience and intellectual outlook, and that through the analysis of stylistic details, one can reach the deep layers of the author’s personality and worldview. Accordingly, an analysis of the stylistic components of Savanehol Oshagh showed that the linguistic structure of this work is deeply linked to Ahmad Ghazali’s mystical and intuitionist personality.
