RESEARCHES IN MYSTICAL LITERATURE GAWHAR-I GUYA)
Year:2008 | Volume:2 | Issue:3 (SEQUENTIAL 7)|Papers Count:8

In the current study, eulogizing introduction of the four "Leili va Majnoon" Poems by Nezami, Amir Khosrow, Jami and Maktabi called "Tahmidiyah" are compared. This comparison clarifies the same essential points in them all.1-Positive Characteristic, negative Characteristic, Creation and Prayer are the four main subjects used in all the mentioned "Tahmidiyah" s.2- Structures have Specific trends: they begin with positive characteristics or negative Characteristics. Then, they continue with Creation and in the following parts such topics emerge as Prayer, Resurrection, Eulogy or Advice.3-Among the aforementioned subjects, application of positive Characteristics has a decrease trend during the time;4-Although many canonists say that all the names of God must have specific references, sometimes some names used without these specific references. However, Jami has used many of these names;5-Among four poets, Maktabi takes into account such factors as negative Characteristics, Creation and Eulogy for Prophet more than others. And his poem has preference due to its literary value and figurative and formalistic devices.   

Poets and mystic writers of Persian Literature have always applied themes and words which are usually used for physical love such as face, eyebrow, wine, and pleasure. They have changed their meaning drastically in order to use them metaphorically for divine beauty and pleasure of union with God. They have covered the meaning in the outer layer of words to be discovered by putting aside the curtain of superficial appearance. This study is an attempt to show the effect of mysticism on the transformation of metaphorical terms with the help of glossaries and dictionaries of mysticism.

“Ethics” is one of the three branches of practical philosophy which Islamic philosophy has borrowed from Greek philosophy. Following the issues such as divine justice, divine promise, determination and alike, Islamic theologians have been somehow involved with the issue of moral philosophy. This issue, even, can be considered as the distinguishing aspect of the two theological schools of Mo’tazeli and Ash’ari. Being as a Hanafi-Ash’ari Sunni, Mowlana Jalaleddin Mohammad Balkhi (Rumi) must follow the Ash’ari theological view in this issue. The aim of this essay is to measure Rumi’s views on ethics by citing some words from Masnavi in which he spoke about moral action. It will be concluded that Rumi, as a Suffi and by using a kind of poetic language, has developed the Ash’ari moral philosophy through a mystical approach in Masnavi. Rumi’s views on ethics are not so dissimilar to the Nineteenth century Danish philosopher’s mystical thoughts, i.e. Soren Kierkegaard. Holding the three spheres for human life, i.e. aesthetic, ethical and religious spheres, he justifies some apparent human irrational actions. This means that for him “faith” has preference over “reason”. Comparing his views with Mowlana’s thoughts is the main concern of the present essay.

Mowlavi's Masnavi is among the most popular and loved Persian classic works which in the current era is of interest for both men of letter and laymen within Iran and around the world. It might be said that one of the reasons is the special attention which Mowlavi has paid for different humanitarian issues. The issues and concepts which are of serious concern for human-beings in the current era too, and different disciplinary of human sciences such as literature, philosophy and psychology are affected by them. Mowlavi, the mystic humanist, when at the back of the horse of phantom moves through the realm of truths and realities, a vast and marvelous panorama is featured in front of his eyes and at this moment, conscious part of his essence has presented a comprehensive paragon of a perfect human through his works and poems, the works which have been drenching for centuries in its watering place those who are thirsty of cognizance and gnosis. Abraham Malowi also as a humanist psychologist has written about self-actualization and “humanization art” and has suggested that the society is playing a key role in self-development of humans and he was of opinion that in a society in which individual possesses responsibility, recognition of defensive mechanisms, experience new methods, diligence in making decision and at large possesses interest in ultra-impetuses, he or she can proceed towards self-actualization. In this paper, in addition to create correlation between two sciences of literature and psychology and far more proximity of Mowlavi's thoughts with humanist thoughts of psychology, adaptive investigation has been done on self-developing personality in Mowlavi's Masnavi using criteria presented by Abraham Maslow.

Silence is one of principles in theosophical behavior. Silence has two main types: silence of tongue, silence of mind. Regarding these two types of silence, three conditions come into existence: silence of tongue- speaking of mind; silence of tongue-silence of mind; silence of mind- speaking of tongue. These three states of silence are discussed in Molawi's sight in this essay and the reasons of theosopher's speech-notwithstanding silence of mind-are introduced. In addition it is proved that Molawi's silence state is silence of mind-speaking of tongue.

This Essay, in addition to Literary masters' descriptions of rhyme and its literary, artistic, and  musical value in Persian poetry, emphasizes that rhyme, as a part of poet’s vocabulary and a word taken from criterion language, has its stylistic role as well. The stylistic distinction of a poet is shown by his/her unconscious choice of harmonious and rhythmic words as rhyme. This stylistic distinction is partly related to the stylistic characters of a poet as well as his period style. This can, in turn, lead to the prominence of his/her poetry. Since there isn’t any attention to rhyme stylistics in the researches of contemporary literary masters, in this essay, samples of rhyme stylistic function in different periods have been represented for masters’ attention.

Concerning this verse of Hafez: «pir-e Golrang-e man andar haq-e azraq-pušān / roxsat-e xobs nadād ar-na hekāyat-hā bud» , several interpretations and explications have been proposed up to now. In this paper, first, I have classified the previous views into four major classes, and reviewed and assessed them briefly.  My assumption is that, in expounding the classical literary texts, the most important factor is to design and present a "paradigm" or "model" for reading the text, and the superiority of one explication over the others depends on the degree of consistency among different parts of the proposed paradigm. Based on this assumption, I have proposed my interpretation or reading by foregrounding two contrasts (one in Divan of Hafez and the other in the literature of Sufism and Islamic texts) and putting the verse within that contrast-system or semantic-net, so that a greater degree of consistency among different parts of Divan of Hafez and his world-view could be observed. My proposed construal is a new version, or a different reading, of Zarrinkub's explication (1364).