RESEARCHES IN MYSTICAL LITERATURE GAWHAR-I GUYA)
Year:2017 | Volume:11 | Issue:1 (SEQUENTIAL 32) |Papers Count:6

In order to express their profound mystical and emotional concepts, mystic poets inevitably resort to using symbols and breaking norms through raising linguistic capacities. In this study, the animal symbol of hawk in Ghazaliyat of Shams has been analyzed from a semiotic perspective. Semiotics is the systematic study of signs in order to gain insights into the various intellectual backgrounds of a poet or an author. By examining the animal symbol of hawk via this branch of science, one can understand various intellectual layers of Rumi including the concept of return, quiescence, journey, etc. Signs in various texts are represented through various forms including words, sounds, smells, movement, location, etc. Through studying the dependent networks in the symbol of hawk, one can observe the match of the function of this symbol with different acts of color, location, movement, and sound. In this study, the binary oppositions and the transformation of the symbols are also examined. The investigation of these identifiers allows us to unveil the hidden intellectual layer of the poet along with the patterns of quiescence, unity, and intellectual infrastructures of Rumi. The important point in the binary oppositions is not the selection of the type of oppositions but the dynamic way of addressing the relations. This issue is indicative of the turbulent spirit of Rumi in his love for Shams Tabrizi or mystical themes. This way of treatment is noteworthy in the medial function of the positive and negative poles of hawk symbol. On the other hand, the mental space of Rumi including the cultural codes of Buddhism and Mithraism influencing the religious atmosphere of Balkh and Konya, and the mythical atmosphere has been explained. In sum, this paper has examined the patterns, acts, norm-breaking, the play of signifiers, the network of matches, and the transformation of the oppositions in the animal symbol of hawk and has analyzed and elucidated them in the samples of Ghazaliyat of Shams.

Flowers during human history had a great importance in the individual and social life of humans. Flower is not only the symbol of manifestation of beauty, but also it is the symbol of theology and monotheism in the interpretive beliefs of the mystics and sufis; It is also a symbol of the inner knowledge of the gnostics and their spiritual discoveries. In this article, the interpretive meanings of the flower are examined from the perspective of the mystics and the Sufis.The semantic and interpretive foundations of the mystics come with the element of imagination and the beautiful creation and are always reflected in the mystical literature. This article with focuses on the interpretation of the flowers, tries to explain the foundations of the texts of mystical literature and to reach the angles of thinking in mystical literature.In this essay can be received the flowers in the beliefs of the mystics one of the best subtleties of the mystic world That They have always looked at it. And used it to express their secrets and hidden beliefs in explaining the appearance descending manifestations and intuitive ascensions manifestations; therefore, the mystics take a variety of mystical interpretations of flowers and its variants.

"Al-Resale" by A. Qushayri is one of the most important texts in mystical prose, especially in the field of customs and teachings of Sufism,. Qushayri wrote the book in between 437 to 438 AD in Arabic. Al-Resale was noted as far back as written and was translated into Persian twice. M. Gisu Deraz is one of the mystics comprised Chishti Order in the ninth century.  He was described Al-Resale for the first time. What is important about this is that Gisu Deraz criticized words of Qushayri and other mystics, as well as Al-Resale. On the other hand, his look is the look of a critic to a commentator or a disciple. This article attempts to study description to Al-Resale, explain the critical aspects of this description and reveal the outstanding characteristics of Gisu Deraz's Language that prose represents the eighth and ninth centuries.

Maāref of Bahâ-e Walad corrected and published the scientific and critical by Badi'o-zzaman Foruzanfar's efforts to base on four manuscripts for the first time in 1333. Editor tried to correct components of three of Maāref into a single narrative, But he did not have the opportunity to identify the version of the complete and valid  of Maāref For this reason his printed version dose not compare completely with other versions valid which has recently been identified. The current edition of this book have not been edited fully respecting the principles. On the other hand some shortcomings in the process of revision, correction and editing the text style that caused an ambiguity in the text. For this reason, it is difficult to read and understand this great work. In this research, in addition to critique and review of the manuscripts of Maāref, the first manuscripts of the applied Foruzanfar are fully introduced, then some of the defects of this correction will be expressed by reference to the old version of Ayasophia and the copy of the library of the Konya.

Amirhossein Heravi is one of the distinguished, yet lesser-known, theosophists in the 8th and 9th centuries. Posing his 18 questions, he encouraged Sheikh Mahmoud Shabestari to compose Golshan E Raz. In addition, he has authored several seminal works reflecting his thoughts and beliefs, and examining them is of utmost importance in historical and comparative studies of mysticism. The present study aims to explore how Heravi’s works were thematically influenced by ancient theosophical heritage; first, by Movlana, his contemporary, in similarities between the beginning of Kanz-o-Romuz and Masnavi, the importance of earthly life negligence, calm but exited lovers, earthly and unearthly love, inattention to rhyme; second, by frequent issues such as beloved’s immortality, rejection of self, reproval of imitation, death before death, binary of love and remonstration; and finally, by theosophists with special attitudes like Abū-Sa'īd Abul-Khayr, Ayn al-Quzat Hamadani, and Najm al-Din Razi, in mill theosophy, reproval of traditions and habits, and the story of Adam creation.These influences have significantly improved the cultural and intellectual richness of his works, making his theosophy and theosophical statements closer to the original theosophical thoughts of the first centuries. However, he has not merely been an imitator. Instead, Heravi has proposed several key, original themes such as reason and love, the disobedient self, and religious pluralism, all of which are discussed in the final section of this article.

Stories of the Masnavi Manavi have expressed multidimensionly so that each of stories could be analyzed from multidimentions. The famous “king and bondwoman’ story” is one of these stories. The story has investigated from various dimensions such as medic moral and love but there had less attention to psychotherapeutic aspect - the important dimension in the story. Hence, the authors in the study have attempted to adjust bondwoman treating methods with current psychotherapeutic approaches -with review king and bondwoman' story. Psychological analysis of king and bondwoman' story showed that the story was made from counseling, conditioning, associationism and psychoanalysis approaches and also love theories integrated intended systematic desensitization, threshold level and love therapy methods. Results of the study demonstrating ingenuity of Molana in assimilating various psychotherapeutic approaches and creating integrated therapeutic method that could have applied for psychotherapeutic specialists.