RESEARCHES IN MYSTICAL LITERATURE GAWHAR-I GUYA)
Year:2010 | Volume:4 | Issue:1 (SEQUENTIAL 13)|Papers Count:10

This article comprises three parts. The first section deals with the evaluation of geometry & its relation to the parallelism among the main three fold worlds [intellectual world, absolute imagination world, & material world]. In this section, we considered Pythagoreans, Plato, Ibn Sina, Ekhvan alsafa, Abu Reyhan Biruni and Rene Guene view points about the symbolic position of geometry & its relation to the spiritual insights. In the thoughts of these figures, geometry describes the super natural realm & cosmic lives of the heavens by a philosophic language & by offering interior insights leads the soul to the real existence. In Ekhvan alsafa's view points, geometry splits into two Categories of sensible & rational & both are considered as a new way in recognition of the wisdom essence & the nature of the soul. The second section deals with geometric position of the existence system in creating the order & unity of the world components. In this section the cosmic orderlines & parallelism of the symbolic appearance of god's justice in proportion to the inner merit &, in other words, the worth of every thing are explained. Third section is allocated to the relationship between geometry & monotheism insights & also some meanings of geometric symbols. The presence of geometric structure in the abstract styles of geometric ornaments, Islamic, Khatayi or architectural forms & volumes is adopted from the holy principle of monotheism. The essence of monotheism in the field of visual imagination is manifested in the geometric crystallized forms & by itself forms the essence of the Islamic art. At the end of this section we deal with the meanings of the main geometric symbols: point, triangle, circle & square in the obtained view points.

Geographical elements should be considered for understanding similarity of compounds and expressions and several features of stylistics among poets of Arran school and Azerbaijan, especially Khaghani and Nezami. Because of this, some similes and ironies in the poetry of Khaghani, Nezami and some other poets of Azerbaijan are almost unique. This article tries to correct some pervasive distortions in Khaghani’s poetry. Such distortion is also evident in Nezami’s poetry. Since such distortion is the product of a compound which belongs solely to Khaghani, Nezami, Mojiraldyn Beilqany and some other poets, it seemed strange to scribes and some editors and this matter caused distortion in these compounds.

Marzban-name includes old tales and narratives. It is believed that this book was originally written in one of the middle-Persian dialects. As Varavini says it was first written in Tabari language and after that it was translated into New-Persian by Saad ed Din Varavini and Malatyvi. By investigating its stories, it becomes obvious that, according to Varavini, Marzban-name has very old origin, even older than what Varavini claimed. This archaism is very obvious in the content of most of the main and secondary stories and also in its ironical structure. In this paper, by mythological- historical and socio- cultural analysis of Marzban-name, it is tried to find the origin of most stories and narratives which reflect the Iranian beliefs and ideas of neighbors whose culture has affected Iranian culture of that time. In addition, by referring to social, cultural and religious conventions of Iranians before Islam, the approximate date of this work which certainly refers to pre-Islamic period and Sasani-age would be estimated.

The issue of science and rationalism (knowledge and cognition) achievement in humans has always been present in the mind of philosophers and scientists. A mong the old philosophers, Sheikh Shahabedin Yahya Sohravardi paid special attention to these issues and in his many different Persian and Arabic philosophical publications, he presented different definitions of this subject. The goal of this study is to answer this question that whether these different definitions are due to lack of understanding or mental depression of Sheikh in this area or indicating his gradual thought evolution. Answering to this question depends on precise investigation of these definitions and comparing them with each other and determining their chronological delay or priority. Results of this study show that, because Sheikh-Eshragh was under the influence Massa? philosophy in his early works, he concluded that science and rationalism result from the form of objects in mind. Then, in the process of his thought evolution he presented different descriptions of this issue. Finally, after his experience in Nori-Eshraghi, he concluded that science and rationalism are the result of brilliant personality. The sources used in this paper are, firstly, Persian and Arabic philosophical works that were accessible to Sheikh and two famous and authentic commentaries by Shahrzori and Ghotbedin Shirazi about Hekmatol-Eshragh. The reason of this is to use Sheikh’s sayings or famous commentator of Hekmatol-Eshragh directly, Other available sources are also used for this study. Since Mola-Sadra was influenced by Sheikh-Eshragh a lot, the differences of Mola-Sadra’s views and Sheikh’s views about this issue are also investigated.

The myth of Siyavash, with regard to its every minute thematic structure, is one of the most pivotal part in the Iranian mythological chain and gives structural support to it. Most stories are, thematically, like Siyavash’s, and pave the way for it. Siyavash has the highest humane character in Iranian myths and especially in Shahnameh. His birth, life, and death possess the qualities of ancient myths and his character is enshrouded in mystery and ritual.Based on the analysis of the themes of Siyavash's mythological character, the present article aims to scrutinize a number of his prominent characteristics and consequently to prove that: a) Siyavash is god-like (like Ahura and supernatural beings). b) His character is quite like the archetype of the first man.Finally, the article tries to answer the main question: What is the reason of Siyavash's mystery? The tacit answer to these hypotheses could introduce Siyavash as an influential and comprehensive character; a character that is perfect and dynamic.

One of the mysterious phenomena in our world is "dream" or "to dream". Objects are appeared symbolically in this phenomenon. Thus, to understand their real meaning, they should be interpreted and investigated. Long since, it was common to investigate dream symbols and compiling them led to create works called "dream interpretation book" So many symbols have been allocated to women and women problems in Persian dream interpretation books. By considering and analyzing these symbols, they would present a more clear and more complete picture of woman from ancients' point of view. Among these, "dishes" are symbols interpreted as woman. The approach of ancients in some interpretations, specially interpretation of dishes in dream interpretation books, are similar to Freudian approach, in which he believes that hollow objects denote woman. Also some basils, birds and animals have symbolic meaning in dream interpretation books. By observing the meaning of these symbols, two motifs are seen. a) uniting and marriage and sexual or financial enjoyment of women and, b) dissociating or divorcing them and death. Birds flying from our hands or house and picking flowers and a bunch of flowers are symbols that denote separating from women. Watching a flower on a tree and killing birds are symbols of sexual enjoyment.

Narratology is one of the modern methods in the analysis of literary works which was first applied on Russian fairytales by Russian critique Vladimir Propp. Propp's ideas in the book "The structural analysis of the tale" had an important influence on the narrative theory. Nearly all the French structuralists have been influenced by Propp and some even tried to complete and correct his theories. Being a real story, "Hasanak_ e_ Vazir" doesn't correspond to the theories of Propp and others. But considering Beihaghi's time of narration, it's structural points and also paying attention to the point that the protagonists of the story have surpassed the limits of a real character and their deeds and sayings call for the reader's pondering, this story has the capacity for structural and morphological analysis. The writer tries to study: 1) the way the story begins 2) getting familiar with the protagonists and the antagonists 3) the cause and effects or actions and reactions. 4) The way information is given to the reader or the chronological relations between the story's events. 5) climax. 6) The conclusions out of Beihaghi's narration.