RESEARCHES IN MYSTICAL LITERATURE GAWHAR-I GUYA)
Year:2017 | Volume:11 | Issue:2 (SEQUENTIAL 33) |Papers Count:7

Persian language and Iranian rich culture have always been enthusiastic around the world. Despite the fact that in the past centuries Iranian enemies repeatedly attacked Iran and separated large parts of the territory of our country, but its cultural and linguistic spheres are not limited to its geographical boundaries. So, it can be claimed that today parts of Central Asia, Anatolia and the Balkans region, the Indian subcontinent and the Far East regions are still influenced by Persian language and Iranian culture. Throughout history, the quality of this linguistic and cultural influence has different dimensions, such as learning the Persian language, adopting scientific and literary works, translating, correcting, and interpreting these Persian texts. The reason for this claim is the existence of a large number of manuscripts from these works in the libraries of these areas and the efforts of researchers and critics of these countries to preserve and revive them. The six-volume description of Mosleheddin Mustafa Sururi on Masnavi is just one example of this effort that was made in Anatolia in the tenth century AH. This paper describes some of the most important literary, linguistic and mystical aspects of this work in a descriptive-analytical way.

The emergence of the Quran among the Arabs led to the development of many sciences, including rhetoric, grammar, reading, history, interpretation and so forth. One of the fields of Quranic studies is interpretations and approaches that has been done in different periods of this world's major work. Mystical interpretations of the Holy Quran is one of these works that Iranian Muslims created in this field in different eras. This paper attempts to recognize the status of poetic and mystical interpretation of Bahr al-Asrar which is one of the most important and still being unrecognized works of the Qajar era. This interpretation is written by Mirza Muhammadtaghi Kermani known as Mozafar Alishah who is one of the famous mystics of early Qajar period and is an ancestor of the late Saeed Nafisi. Bahr al-Asrar interpretation or Sab al-Masani is a mystical interpretation written by Surah al-Hamd in Masnavi which takes about 4,000 distiches. Although this work has been printed several times by lithography and once printed by movable-type printing system, but for different reasons the prints are without scientific basis. In this Interpretation Mozafar Alishah describes Holy Surah al-Hamd in twenty Behers and expresses mystical moments in these Behers as he expressed the levels of existence. During these verses there are references in prose, and sometimes he uses the Quran, Imams' Hadiths and lyrics from great poets to emphasize the importance of his work. In this study the themes and content of this work were discussed, as the work and the interpreter were introduced.

Shams and Molavi, two of our great mystical-literary figures, have had a profound effect on each other. The two, along with each other's evolution and spiritual exaltation, as well as the unique reputation they have found in this way, by publishing and describing the works and thoughts of each other, added to the excellence, glory and reputation of Islamic literature and mysticism. Although many scholars have studied their similarities and commonalities, there are differences and even contradictions in their way of life and their behavior. The present research has been developed to prove this claim. In this study, we tried to check the Shams and Molavi’s differences and contrasts with a comparative method. We showed their personality contrasts and differences, different aspects of their life, the style of training, speech and behavior. Based on this study, we could understand the reasons behind these differences and contrasts in their opinion and behavior to justify their positions, states, and articles. The present research has been categorized and presented in three sections including: 1) the differences or contrasts in the individual and social life; 2) moral and personality contrasts; and 3) mystical contradictions and differences.

This article deals with Gerard Genette’s ideas about narrative components: “command time”, “mood”, and “voice” in three narratives of “Pir Changi” story. The story of Pir changi was narrated for the first time in “Asrar Altohid” and after that “Attar Neishabouri” and “Mulana” also narrated the story with some changes. This study tries to investigate the differences between these three narrations. Even though this story is now well known with Mulana’s name, but the style of narrations and its type in “Asrar Altohid” is different. He used the mechanisms of narration in another level that can be considered higher than the other two.The differences between Asrar Altohid and the other two narrations are:1- The narration is not linear. The author, with some flashbacks, narrates his story, exactly unlike the other two which have linear narrations.2- “Distance” is the result of the presence of the narrator in the narration. In this narration, the distance is very obvious. We have less distance in the other two stories.3- “Perspective” in this narration in internally-focalized. But the other two stories are non-focalized.4- The narrator in this narration has a part in the story. He is one of the minor characters means homodiegetic. But the narrator of “Attar” and “Mulana” are both out of their narrations.

Irony as an indirect and reflective expression of various issues, while improving the artistic and creative aspect of literary speech, gives the poem and writer the opportunity to convey difficult meanings and themes with a well-known, yet attentive, and artistically appealing tone familiar to the mind of the audience to be transmitted and internalized. In this study, first, after a brief look at the views expressed on the irony as well as its artistic values and literary functions, the qualitative and quantitative aspects of irony in Shams’s sonnets were studied. The results of the investigations revealed that Mowlana used a high frequency of near ironies in his poems. One of the reasons for this can be the simplicity and use of the poet's clear image as well as the result that the Rumi’s reliance on the meaning, not on the form. Moreover, the generality of Mowlana’s audience made the long mystical concepts to be appear in plain terms.