RESEARCHES IN MYSTICAL LITERATURE GAWHAR-I GUYA)
Year:2008 | Volume:2 | Issue:1 (SEQUENTIAL 5)|Papers Count:11

Khaghani is a poet with his idiosyncratic style. He has specific thoughts regarding poetry and is, also, a master of science in his own time. Issues concerning faith as well as religious issues are frequently repeated in his works. In his collected works, stories spanning from Adam up to Mohammad, along with diverse expressions and artistic forms caress any reader's mind. The poet puts the common techniques aside and defamiliarizes the setting by means of new methods of expression. Adam with the face of an ardent lover is deceived by the apple of the face of the beloved, and is consequently expelled from Eden; the Samaritan (which has a negative picture in Islamic tradition) gets a white picture and accompanies Moses; Moses and Pharaoh reconcile; the dog in the Seven Sleepers Cave loses its appeal and the story of Abraham and the four birds in the Quran is mixed with the birds of the King of Calah and a new image is formed.It can be said that Khaghani has this virtue of novelty in his outlook that distinguishes him from the other poets. Russian formalists give importance to deconstruction or Defamiliarization in the interpretation of art. In this article, some of the stories of the prophets in Khaghani have been chosen to be studied, although his technique is much more extensive than typical formalist definitions.

Historical terminology, the same as human history, has encountered many ups and downs during its time, and consequently has acquired its own meaning and position in any specific field. Most of these terminologies occupy their social and meaningful positions in socio-political domains, and make the body of the administrative and secretarial terms of different historical ages in Iran.The focus of the present article is on showing the urgent need for gathering explanations of administrative terms in different historical ages.It also surveys the changes of meaning of these terms and codifies the thesauruses in this field.

Seyed Uthman Marvandi entitled as "Laal Shahbaz Qalandar" (died 673, lunar Hijri) moved from Iran to India in his youth. After he was graduated, he set out to visit the different areas of India, accompanying with Shaikh Baha-o-ldin Zakaria Moltani, Shaikh Farid-o-ldin Ganj Shekar, and Jalal-o-ldin Bokhori-scientists of Sohrewardie Multan- and ultimately settled down in Sehwan, one of the ancient areas of Sindh, and launched his science and knowledge classes.He began to spread Islam religion around and promote Persian language, as well. Consequently, He changed the appearance of the area to a mystical and cultural center. However, his ecstatic poems are extremely enjoyable and soothing. According to basic investigations, his religious and moral poetry increases knowledge and wisdom and leads the soul of the seeker into a state of astonishment. What follows is due to research in this field.

Naser Khosaw's didactical Mathnawi, "Rushanai Name" is one of the oldest Persian didactic verses, in which he has introduced his ethical doctrine the same as he had previously declared in his prose works "Zadol- Mosaferin" and the "Djame-ol- Hekmatain."The author believes that this ethical doctrine is derived from three main sources, i.e. the Islamic ethic, the philosophical ethics and the pre Islamic Iranian ethics of Sasanian. The Mathnawi is assumed to be structurally divided into three sections: philosophical paradigms as a whole, in nine sections, the ethical method of philosophy in six sections, the advices of the Zarathustra clergy (moubad) in six sections and the Ending in four sections. The ethic and didactic doctrine is presented in three main axes: The recognition of the soul and the three types of the soul, and recognizing the virtues and vices and the way to purgative soul.

What are the signs of beauty in the Persian poem? Do these signs change in the history? In the old world when poets were to recede the differences and appeal to a common essence, can one observe such matters as unity, cohesion in the signs of beauty, and methods of artistic expression? Are the images that express such beauty similar to a crossword? The answer might be that sometimes, one is possible to observe uncommon signs of beauty. These uncommon signs of beauty that are apart from the table of ecstatic are imported and added, some of which are the result of the presence of such matters as "Turk slaves" in Persian poetry, and the prevalence of the unpleasant tradition of homosexuality, and consequently the preference of almond-eye to wide eye, or short hair to long hair, while some others are the result of interaction with western countries. We can see theses uncommon signs of beauty in the Azerbaijan and Arran and the Indian school of poetry, like blond hair instead of black, blond eyelashes instead of black and blue eye instead of black. Some of the signs are the result of obedience of Arabs. Like description of lightly tanned lips and big mouth and green eyebrow instead of black. And finally some other signs are the result of interaction with Indians, like lightly tanned face instead of white and red tooth because of chewing "tanbool" and "pan".

One of the main issues with regards to religion in contemporary world is the similarities between religious, mystic, and artistic experiences and the way they are represented in language. Yet, ignoring the differences between these types of experience has caused the belief that all these various states of mind are one and the same.In this paper, after setting forth the definitions and concepts of religious and mystical experiences, we will discuss the relation of these experiences to artistic ones. According to religious doctrines, there is an essential difference between the expressions of a mystic and a poet (in its literal sense, and not the sage or mystic who makes use of poetry to clarify his viewpoints). Ignoring such a difference, the insistence of Holy Quran and Prophet Mohammad (peace be upon him) and also some Gnostics on the difference between themselves and poets (and even their hatred of poetry) would be untenable. Thus, this paper tends to show that along with similarities between religious (and mystic) experiences and artistic ones (such as their being based on taste, emotion, paradox, …) the differences between these mental activities (such as their different origin, universality of religion, authority of prophet in religion, …) and their linguistic significance should be addressed, too.

This essay has been dedicated to the study of narration story, and plot in Goldasteha-O- Falak.The study consists of different parts:1. The introduction which points to Jalal and his works and also provides a brief summary of the story2. The content of the essay which in itself has two main parts: The five elements of narration, in the first part and the story and the plot, in its second part.In this story the events of which are narrated through the point of view of a junior student of a primary school- as the main character- the hero follows his specific quest that is, climbing up the minarets of Mo `eer - ol - Mamalek's mosqueHe faces some obstacles in achieving his goal. Thus, making a secret plan, he succeeds to overwhelm them and finally attains his goal.Along with the main event of the story - climbing up the minarets - some other events are also conveyed, as a result of the implication of such a technique, the plot of the story consists of two "sequences". The narrator has also employed “flash - back” in narrating the events. Some events and descriptions have been conveyed in details and some others in short. The last point is that the narrator of the story plays the roles of both a narrator and a character simultaneously.

In his composition of the unique epic, sometimes considered as one single novel, the great scholar of Tous has successfully employed a wide range of discourse varieties including dialogue and debate. Although the debates in his work are by no means comparable to dialogues regarding frequency and stylistic features, this paper intends to examine the role of debate in Shahnameh through analyzing a sample of tokens.To this end, initially, the concept and origin of debate is defined and revisited according to the pre Islamic literary texts. Then, 'Mani & Moubed' and ' Moubed & Mazdak', as two well-known debates of Shahnameh, will be analyzed. The analysis reveals that the debates of Shahnameh are drastically different from the five categories of debate utilized in Asadi Tousi's composition of lyric verses and youth remembering odes as well as the Mathnavis of the succeeding centuries.Indeed, Ferdowsi attempted to portray the undemocratic religious atmosphere of Moubedan age, not tolerating any opposite voices, through these debates. Meanwhile, he meticulously implies that these styles are for the typically undemocratic cultures and societies while dialogues are characteristic of democratic societies.

When a poet or a writer conveys a concept in the form of words and sentences, s/he intends to produce a consistent text for which there is a coherent beginning and end. It is not possible to have a coherent and cohesive text unless there is a consistency and compatibility among constituent element of a text, or else, the so-called text will render itself to a combination of inconsistent and incoherent sentences with no meaningful relationship among them.Because of this, the poet or writer is responsible for the utilization of cohesive ties to make the text seem consistent and cohesive. The special way of a poet/writer in making components of a text (elegy, in our case) cohesive could help us recognize his/her style, or even his period's prevalent style.Analyzing and studying the process of grammatical cohesion in 'am'aq bokhara'i's (440-542) ghaside, it was found that from among 562 cohesive ties the most frequently used ones are personal reference"27.40%," conjunctives " 25.62% , "ellipsis"22.06%, ''comparison reference'' 20.28% and "substitution" 462% respectively.'Am'aq has utilized "ellipsis" for both textual cohesion and versification. He has attached every section of elegy, sometimes considered an independent poem, to another just by the use of a delicate tie/bond (usually personal reference) in a linear fashion.

The present study involves a brief introduction of two literary-mystical works in the widespread culture of the world of Christianity and Islam.That is, a novel belonging to Leon Tolstoy's last works, and Attar's narration of the soul evolution of Ibrahim-e-Adham, the Iranian prince.The evolution of the soul has in self some outcomes; among which, Love, life, piety, worshiping, and mortification are of high attention in the eyes of mystics and thinkers.Nobody could ever neglect such hallmark issues of life, as love, God, enjoyment, worshiping, asceticism, resurrection, and so on. Consequently, this study is going to have a look at such issues in the two great works of art.