بررسی عشق و روابط حاکم بر آن در «خسرو و شیرین» نظامی و بازنگری انتقادی پیشینه‌ پژوهشی آن

One of the most important methods of interdisciplinary studies is the reading of literary works with a psychoanalytical approach, which entered the field of literature and art in the 20th century with Freud's innovations and evolved after him with various methods and theories. One of these important approaches is the view of Robert Sternberg - the famous American psychologist - in analyzing the love system as one of the most basic and profound human behaviors and psychological actions. In the theory of "love triangle" and also in the theory of "love story", Sternberg interpreted the life and emotional relationships of each person with another from a new point of view, and after categorizing and analyzing it, he achieved several patterns in understanding love. The results of this study will show that, in general, all the emotional relationships in this narrative started with the component of passion and shared the component of intimacy. But the difference between Shirin and Farhad's love and Khosrow's love is in the stage of commitment. This difference will transform the pattern of love in Shirin and Farhad into ideal love and in Khosrow into romantic love, which sets the stage for the tragedy in this lyrical work. On the other hand, the first form of stories are of the art story type; that in the next stages, the stories of addiction, collection and sacrifice will be found in this narrative.
Abstract:
 Psychoanalytic criticism, Nizami, Sternberg, Khosrow and Shirin.
Introduction
 
In the contemporary era, with the importance of finding and highlighting details, subjects and concepts, these movements have been led to specialization and focus on special concepts and specific axes of human emotions, the most important and prominent of which is the subject of "love". It has involved human emotions since prehistoric times. One of the most important theorists in this field, who has devoted his research exclusively to the field of love, is Robert J. Sternberg, who considers the three sides of this feeling to be the components of intimacy, enthusiasm, decision, and commitment in the theory of the love triangle. He then put forward the theory of "love story" that the premise of a love story is that we are interested in being in a relationship with those whose love story is similar to ours and who have a complementary role to us. Because love is a story and only we are the authors of this story. On the other hand, in the context of Persian lyrical literature, Nizami Ganjavi is one of the most important writers who compiled his works with the focus of love, and his Khamsa is indicative of the mastery of this subject, as a central concern and subject in the creation of a literary work. Among his works, the narrative of Khosrow and Shirin is one of the best texts that can be analyzed and interpreted from Sternberg's point of view. Therefore, this research aims to examine the narrative of Khosrow and Shirin Nizami from the two perspectives of Sternberg's "Love Triangle" and "Love Story" and interpret and define the types of love in this narrative.
Materials & methods
this research tries to analyze and analyze the love poem "Khosro and Shirin" by Nizami Ganjavi based on these two theories with a descriptive-analytical method
Discussion

A) Passion component: since in Sternberg's theory, the passion component is based on physical motivations and physical aspects, and often "the initial stages of a relationship are mainly characterized by passion, the first component that is found in Khosrow's love for Shirin It is visible, it is the component of passion. This component has its initial appearance when Khosrow Parviz, just by hearing the features of Shirin's appearance from Shapur's language and in the next stage, when Khosrow meets Shirin at the spring, becomes fascinated and enamored with him. This state in the first experience of sweet love, which was started by Shapur and with the representation of a statue of Khosrow, sweet fascination means the component of passion, which is an example of the arousal of physical and physical factors. In Farhad's encounter with Shirin, the first component that comes to mind is enthusiasm; Because Farhad falls in love just by hearing sweet words, which are considered physical elements of beauty. But his love quickly turned into mania and restlessness, and the restlessness and sleeplessness in Faraq Shirin is the expression of this component in his personality.
b) Intimacy component: This component in Sternberg's definition and in the signs arising from the relationship goes to the extent that the parties should share their feelings and thoughts with each other, so that the conversations in any way and shape even Grievances and complaints are also objectified in the form of signs of intimacy, and expressing the secret of the heart or complaining about the beloved is one of the characteristics of the intimacy component. The signs of this can be seen in Khosrow's complaint after seeing Shirin, in closing the palace door on him. In addition to that, one of the components of intimacy can be mentioned as esteeming the beloved and respecting him. But this state is much stronger in Shirin, and wherever Shirin confronts Khosrow, both in terms of the desire for the well-being of her lover and the emotional support mentioned by Sternberg, Shirin is in a position of intimacy towards Khosrow.

Facing the experience of love, Farhad obeys her orders for the well-being of Halah Shirin, and with an ax in his hand, he begins to carve a thorn stone and provides a pond for the well-being of his lover. And frequently, the element of Farhad's respect for Shirin will be more objective. Even where Shirin gives her the best jewel in honor of the architecture of the pond, Farhad immediately gives it to Shirin's feet, which in Sternberg's system of signs, he will recognize as one of the elements of honoring the beloved and a component of intimacy. became. The manifestation of this respect and value is in Farhad's character to such an extent that even if there was a dust coming from Dargah Shirin, it was so sacred and valuable to Farhad that he would put it on his eyes instead of crimson. In addition to these, Farhad's complaints and pleas in the mountain while talking to Shirin are other signs of intimacy, which are depicted in a monologue in the narration. On the other hand, Farhad's desire for Shirin's well-being, as well as his sense of responsibility and Farhad's emotional support for Shirin, are important and prominent features of this component.

C) Commitment component: In the definition of the commitment indicator from Sternberg's point of view, it can be seen that Khosrow questions this commitment for different reasons and in communicating with two other lovers, he is almost empty of the circle of commitment. But on the other hand, having a lasting and long commitment in sweet love to Khosrow has turned the narrative into a story of sweet commitment. And also in Farhad's love experience, it can be seen that he does not talk about Shirin except for Shirin because of his committed love, and he only remembers Shirin's thoughts and feelings. In fact, the main component of Farhad's love is his commitment to Shirin, which he adheres to until the last moment of his life.

Result
After examining and re-reading the text, it can be seen that the component of enthusiasm in Khosrow is at its highest level. This issue has resulted in the type of love in Khosrow and Shirin's narratives, respectively, romantic love, ideal love, romantic love, foolish love, and empty and empty love. Soda love and romantic love, silly love and empty and empty love have been discussed once each. On the other hand, according to Sternberg's reading of love as a story, it can be seen that the cause of the tragic situation in the narration of Khosrow and Shirin is more than anything based on the heterogeneity of the love stories in the three characters. Since, according to Sternberg's view, the durability of relationships depends on the alignment and harmony of stories, this situation in Khosrow's character is the story of art and collection, and in Shirin, art and sacrifice and addiction. The same difference in the second part of love is the basis of the lack of success and continuation of the relationship between these two characters. On the other hand, Farhad's love story has a close resemblance to the sweet love story of Khosrow, but the kind of sweet love towards Farhad basically makes it impossible to establish a relationship and since the relationship is not formed at any level, there is no room for experiencing the love story. It will not be possible. And since the story of sweet love in interaction with Farhad is completely in conflict and repulsion with the story of Farhad, the tragic aspect of the narrative will be realized. Finally, the results of the research will show that from Sternberg's point of view, the lack of commitment and loyalty in the story of Khosrow and Shirin has lowered the narrative from the level of a romantic work to a level that Nizami calls it a lust. It is a sad aspect of the narrative that, in the end, ideal love experiences failure in this story and signs of success appear in Khosrow's collection or foolish love.