Īhām (ایهام) in Persian, Urdu, Kurdish and Arabic poetry is a literary device in which an author uses a word, or an arrangement of words, that can be read in several ways. Each of the meanings may be logically sound, equally true and intended.[1]
In the 12th century, Rashid al-Din Vatvat defined īhām as follows: "Īhām in Persian means to create doubt. This is a literary device, also called takhyīl [to make one suppose and fancy], whereby a writer (dabīr), in prose, or a poet, in verse, employs a word with two different meanings, one direct and immediate (qarīb) and the other remote and strange (gharīb), in such a manner that the listener, as soon as he hears that word, thinks of its direct meaning while in actuality the remote meaning is intended."[1]
Amir Khusrow (1253–1325 CE) introduced the notion that any of the several meanings of a word, or phrase, might be equally true and intended, creating a multilayered text.[2] Discerning the various layers of meanings would be a challenge to the reader, who has to focus on and keep turning over the passage in his mind, applying his erudition and imagination to perceive alternative meanings.[1]
Another idea associated with īhām is that a verse may function as a mirror of the reader's condition, as expressed by the 14th-century author Shaykh Maneri: "A verse by itself has no fixed meaning. It is the reader/listener who picks up an idea consistent with the subjective condition of his mind."[1] The 15th-century poet Fawhr-e Din Nizami considered īhām an essential element of any good work of poetry: "A poem that doesn't have dual-meaning words, such a poem does not attract anyone at all—a poem without words of two senses."[3]
Īhām is an important stylistic device in Sufi literature, perfected by writers such as Hafez (1325/1326–1389/1390 CE).[1][4]Nalî is an example of another poet who has used īhām widely in his poetry. Applications of this "art of ambiguity" or "amphibology" include texts that can be read as descriptions of earthly or divine love.[4][5][6]
Haleh Pourafzal and Roger Montgomery, writing in Haféz: Teachings of the Philosopher of Love (1998), discuss īhām in terms of "biluminosity", simultaneous illumination from two directions, describing it as "a technique of comparison involving wordplay, sound association, and double entendre, keeping the reader in doubt as to the 'right' meaning of the word. Biluminosity removes the burden of choice and invites the reader to enter a more empowering dimension of īhām that embraces the quality of amphibians [...]—beings capable of living equally well in two radically different environments. As a result, the reader is freed from the obsession to find the 'right answer' through speculation and instead can concentrate on enjoying nuances and being awed by how the slightest shift in perception creates a new meaning. [...] From the perspective of Haféz as the composer of poetry, biluminosity allows two different points of view to shed light upon each other."[7]
^ abcdeMuzaffar Alam (2003). "The Culture and Politics of Persian in Precolonial Hindustan". In Sheldon I. Pollock (ed.). Literary cultures in history: reconstructions from South Asia. University of California Press. pp. 179–182. ISBN978-0-520-22821-4. Retrieved 15 November 2011.
^Muzaffar Alam (2004). The languages of political Islam: India, 1200-1800. Hurst & Co. p. 122. ISBN978-1-85065-709-5. Retrieved 21 November 2011.
^Sheldon I. Pollock (2003). Literary cultures in history: reconstructions from South Asia. University of California Press. pp. 824–826. ISBN978-0-520-22821-4. Retrieved 15 November 2011.
^ abGönül Dönmez-Colin (2004). Women, Islam and cinema. Reaktion Books. p. 97. ISBN978-1-86189-220-1. Retrieved 15 November 2011.
^Saeed Zeydabadi-Nejad (15 August 2009). The politics of Iranian cinema: film and society in the Islamic Republic. Taylor & Francis. p. 166. ISBN978-0-415-45537-4. Retrieved 15 November 2011.
^Peter Jackson; Laurence Lockhart (28 February 1986). The Cambridge history of Iran: The Timurid and Safavid periods. Cambridge University Press. p. 930. ISBN978-0-521-20094-3. Retrieved 15 November 2011.
^Haleh Pourafzal; Roger Montgomery (30 March 2004). Haféz: teachings of the philosopher of love. Inner Traditions. pp. 45–46. ISBN978-0-89281-188-5. Retrieved 21 November 2011.
Īhām, ایهام, persian, urdu, kurdish, arabic, poetry, literary, device, which, author, uses, word, arrangement, words, that, read, several, ways, each, meanings, logically, sound, equally, true, intended, divan, hafez, master, īhām, national, museum, iran, tehr. iham ایهام in Persian Urdu Kurdish and Arabic poetry is a literary device in which an author uses a word or an arrangement of words that can be read in several ways Each of the meanings may be logically sound equally true and intended 1 The Divan of Hafez a master of the art of iham National Museum of Iran Tehran Persia Contents 1 Definitions 2 See also 3 References 4 External linksDefinitions editIn the 12th century Rashid al Din Vatvat defined iham as follows iham in Persian means to create doubt This is a literary device also called takhyil to make one suppose and fancy whereby a writer dabir in prose or a poet in verse employs a word with two different meanings one direct and immediate qarib and the other remote and strange gharib in such a manner that the listener as soon as he hears that word thinks of its direct meaning while in actuality the remote meaning is intended 1 Amir Khusrow 1253 1325 CE introduced the notion that any of the several meanings of a word or phrase might be equally true and intended creating a multilayered text 2 Discerning the various layers of meanings would be a challenge to the reader who has to focus on and keep turning over the passage in his mind applying his erudition and imagination to perceive alternative meanings 1 Another idea associated with iham is that a verse may function as a mirror of the reader s condition as expressed by the 14th century author Shaykh Maneri A verse by itself has no fixed meaning It is the reader listener who picks up an idea consistent with the subjective condition of his mind 1 The 15th century poet Fawhr e Din Nizami considered iham an essential element of any good work of poetry A poem that doesn t have dual meaning words such a poem does not attract anyone at all a poem without words of two senses 3 iham is an important stylistic device in Sufi literature perfected by writers such as Hafez 1325 1326 1389 1390 CE 1 4 Nali is an example of another poet who has used iham widely in his poetry Applications of this art of ambiguity or amphibology include texts that can be read as descriptions of earthly or divine love 4 5 6 Haleh Pourafzal and Roger Montgomery writing in Hafez Teachings of the Philosopher of Love 1998 discuss iham in terms of biluminosity simultaneous illumination from two directions describing it as a technique of comparison involving wordplay sound association and double entendre keeping the reader in doubt as to the right meaning of the word Biluminosity removes the burden of choice and invites the reader to enter a more empowering dimension of iham that embraces the quality of amphibians beings capable of living equally well in two radically different environments As a result the reader is freed from the obsession to find the right answer through speculation and instead can concentrate on enjoying nuances and being awed by how the slightest shift in perception creates a new meaning From the perspective of Hafez as the composer of poetry biluminosity allows two different points of view to shed light upon each other 7 See also editEsoteric interpretation of the QuranReferences edit a b c d e Muzaffar Alam 2003 The Culture and Politics of Persian in Precolonial Hindustan In Sheldon I Pollock ed Literary cultures in history reconstructions from South Asia University of California Press pp 179 182 ISBN 978 0 520 22821 4 Retrieved 15 November 2011 Muzaffar Alam 2004 The languages of political Islam India 1200 1800 Hurst amp Co p 122 ISBN 978 1 85065 709 5 Retrieved 21 November 2011 Sheldon I Pollock 2003 Literary cultures in history reconstructions from South Asia University of California Press pp 824 826 ISBN 978 0 520 22821 4 Retrieved 15 November 2011 a b Gonul Donmez Colin 2004 Women Islam and cinema Reaktion Books p 97 ISBN 978 1 86189 220 1 Retrieved 15 November 2011 Saeed Zeydabadi Nejad 15 August 2009 The politics of Iranian cinema film and society in the Islamic Republic Taylor amp Francis p 166 ISBN 978 0 415 45537 4 Retrieved 15 November 2011 Peter Jackson Laurence Lockhart 28 February 1986 The Cambridge history of Iran The Timurid and Safavid periods Cambridge University Press p 930 ISBN 978 0 521 20094 3 Retrieved 15 November 2011 Haleh Pourafzal Roger Montgomery 30 March 2004 Hafez teachings of the philosopher of love Inner Traditions pp 45 46 ISBN 978 0 89281 188 5 Retrieved 21 November 2011 External links editiham in Encyclopaedia Iranica Retrieved from https en wikipedia org w index php title iham amp oldid 1208736525, wikipedia, wiki, book, books, library,
