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Yousofpoor.M.K.,PH.D

 
Abstract:
 
Molavi Masnavi somehow follows the tradition of verbal narration (‘Mo’aref telling’), which was customary in his family. The spontaneity of speech, the interference of present requirements of the meeting in the natural development of discussions, and consequently, the fragmentation of language are some of the obvious elements of a work like the Masnavi. The very presence of the audience at the time of composition of  the Masnavi creates a classroom atmosphere. Naturally, one can frequently observe the tacit and yet clear role of the audience in this didactic composition, which is the result of an interaction between the speaker and the listener. On the other hand, because of Molavi’s interest in certain topics and subjects and his preferences, it is the speech that finally shapes the stories, not the writer. Molavi repeatedly asks the reader to seek the internal rather than the external meaning; also, the stories and their content-based nature warn the reader not to suffice to the surface meaning of the stories and not to read the Masnavi as a story book. Digressions in the Masnavi appear in various forms and for various reasons. Some of the reasons for these digressions are: the present audience’s reactions such as expressions and feelings, inspirations which automatically come to Molavi’s mind, the speaker’s trance at the time of presenting topics to which his sensitive soul is deeply connected – topics such as love, monotheism, absorption in God , and his memories with Shams Tabrizi.
 

Keywords: Key words: digression, association of ideas, spontaneous speech, Masnavi.

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