RESEARCHES IN MYSTICAL LITERATURE GAWHAR-I GUYA)
Year:2010 | Volume:4 | Issue:3 (SEQUENTIAL 15)|Papers Count:8

Study of most sonnets of Rumi reveals that after music the plurality of images is the most prominent aspect of these sonnets. These images are the result of moments of revelation and ecstasy of the poet. In such moments, the element of language becomes salient for suggesting the meaning to the reader. In such moments, a number of images help Rumi to express his revelations. Because of this, his poems have a revelatory and dream-like mood. The interpretation of such sonnets is possible when the reader recognizes this central element and refers to the prior linguistic elements. The approach which helps the reader in such interpretation is intertextuality. At the basis of intertextuality is the idea that text is not an independent closed system and there is no text in vacuum, but each text, consciously or unconsciously, is written and read with other texts. In this article, the image of sea and its correlates, as one of the most used poetic images by Rumi, are studied on the basis of intertextuality theory. This study tries to find the relations between the texts with regard to this image and interpret these relations.

Using modern methods for studying literature does not have a long history in Iran but such methods can be observed in the works of non-Iranian researchers who study Persian literary history. The study of Persian literature and the process of its evolution was considered by non-Iranian researchers from the beginning. Therefore, literary works of Shebly Noamany, Edward Brown and Yan Reepka are considerable because they propose three different views in the study of Persian literature history and its development process: Shebly Noamany’s eastern view, Edward Brown’s western view and Yan Reepka’s realistic view. In addition, topics such as addressee recognition, criticism of trandition and realism, which produced new attitudes in Persian literature are obviously seen in the works of these researchers. In this article, the mentioned topics are studied and the roots of similarities and differences, between the three researchers are investigated. Also, some grounds of modernism in literature are analyzed.

Tarh poem in Persian and Towghi in Arabic are two kinds of modern poetry which are told in a meaningful way by using a few words. We can say that short classic poems in Persian and Arabic are replaced by Tarh and Towghi which are recognized by Persian and Arabic poets in early 70s of 20th century. History of Persian short poems goes back to the old short poems and then to “Khosravi-ha” and history of Arabic short poems goes back to Towghi of Abbasi’s time. The most important reasons for the spread of this kind of poems are: Change of opinion about the world, speed and hurry, change in collective feelings, business and lack of time, traditions’ violation and being influenced by others. This kind of poem in Persian was started by Nima’s short poems and was followed by Bizhan Jalili, Zia’oddin Khaleghi, Mohammad Zahri, Mansur Owji and Sirus Nowzari. In Arabic it was started by Amin Al-Reyhani and Jobran Khalil Jobran and was followed by Ezzoddin Monasere, Ahmad Matar, Mozzaffar Navvab and Ebrahim Nasrollah. In this research, the properties of Tarh and Towghi like language, meter and rhyme, brevity and semantic norm breaking and attraction of subject are studied, and also it is shown that although this kind of poem is affected by foreign poems, it is not a copy of them, and it goes back to old poems of these two literatures.

The beautiful handwriting of Persian language suffers from some problems and the facilitation of these problem is the job of Persian writing scholars. The present article discusses the problem of connected spelling in comparison with disconnected recording of compound words. It criticizes and evaluates graphemic conventions in Persian. It also advocates and enumerates the advantages and benefits of the disconnected form and exemplifies the idea through common compounds.

Allegory is an indirect expression which is based on simile: In this trope, the person uses a concrete entity to suggest his mentality which is usually an abstract concept. In old and modern rhetorics, allegory has been considered as a tool for imagery. Considering books on old and modern rhetorics and by investigating the proverbs in which allegory is used to make meaning accessible for the reader, it can be said that allegory and imagery do exit not only in simile-based proverbs but also in other types of proverbs. In other words, allegory is not just Tamsilia metaphor and it can be found even in ironic proverbs. Considering proverbs’ books, a proverb can have a simile orientation as well as metaphorical and ironic orientations. Even, a motto can become a proverb because of its prevalence among people. This article is a study about finding equivalence between Persian and Arabic proverbs. One of the findings of this study is that hyperbole in Arabic allegories is much more than Persian ones. Although many proverbs, have similar functions in the two languages, humane and animal fables have been produced in different forms like exemplum and equation format. In other words, if a proverb in Persian has a equivalence in Arabic, the two proverbs are not necessarily of the same kind. Also, using an image for a characteristic and hyperbole in the characteristic can be added to the content of allergies.

Iran and China relationship goes back to past centuries, even before Islam. But, after the victory of Islam, stronger bonds were developed between the two countries and, gradually, different depictions of Chinese culture and civilization were reflected in Persian literature and particularly in poetry. Chinese religion and ritual, aestheticism, handicrafts and painting are some of the representations to which this essay is devoted. This essay also investigates the general reflection of China in Persian poetry.

Ghorbat (nostalgia) is an Arabic gerund. Literally it means being separated from one's home and going away and colloquially it means the remoteness of human spirit from the Spiritual World and the Great Court since soul has lived near God and suddenly it was polluted with guilt and descended to this earthy world. After descent, soul came to this world; a world which is not reprehensible by itself but when soul depends itself on world and its attachments and forgets its essence, the world binds and weakens it. Soul which has been detached from heavenly position suffers from grief and is taken captive in the body and this captivity, in fact, provides the causes of its nostalgia. In this essay backgrounds of human nostalgia are studied. In addition, the concept of nostalgia in Molana's poems is considered. Investigations show that human nostalgia has special mystical position in mystic works. Therefore, we can find roots and backgrounds of nostalgia in pre-Islam religions and opinions of philosophers and scholars before Molana. By examining the historical path of nostalgia among pioneer mystics it can be concluded that Molana's discourse, because of some reasons like his experience of nostalgia and his proficiency in sciences of his time particularly, Quran and Hadiths, is more attractive and impressive. Molana believes in transcendental nature of soul. He believes that soul and passion are afflicted by nostalgia in this earthly world and man should try to be united with his essence. In terms of informing and pacifying, art as a high and holy truth has been the assistant of nostalgic humans. Also, eternal passion as an attracting sexuality factor helps human in return to his essence.

One of the characteristics of symbolic-mystical poems is the use of reversed or paradoxical terms like: debauchery, disobedience, sin, unbelief, Christianity, hypocrisy & dissimulation and their synonyms. These terms are often used in mystical & lyric poems and study of them can help us to comprehend and interpret them from different points of view. These reversed terms symbolize the motion of mankind’s soul, mystical states and loving intoxication Hafez, one of the most remarkable Persian sonnet writers, uses these term very often. He calls himself a debauchee or disobedient because of his disbelief in the faith of exoteric worshippers and of his belief in intoxication and inner motion or soul change. Thus, the poet considers disobedience a heritage of Adam which we should take it willingly. The reversed terms in this group are: a) debauchery, b) disobedience and sin c) act of forbidden d) ill-fame, qalandar, scoundrel, indifferentism e) ogling, revelry, drunkenness f) unbelief, Christianity, idolatry, wearing non-Muslim girdle g) hypocrisy & dissimulation, pollution, Rendi.