Mytho-Mystic Literature
Year:2018 | Volume:13 | Issue:49 |Papers Count:13

Mystical contraction and expansion has a Quranic origin and it has been discussed in educational texts of Sufis till 8th A.H. Most authors of these texts believe that mystical contraction and expansion is one of the salek's (the holy traveler) mystical states and comes to his/her heart from God. Based on comparative mysticism, in the present article, attempts are made to show the historical development of contraction and expansion in educational texts of Sufis and to examine their similarity, difference and their impact on each other, and to introduce prominent views. The main question of the research is that, in its historical development in educational texts, how far do the concept of mystical contraction and expansion go from its lexical meanings, and how are semantic contexts and conceptual implications of it developed and modified? Given the high frequency of the use of the concept in Persian mystical texts, the present research will lead to correct interpretations and analysis of views during reading texts.

Masnavi Manavi has benefited from the previous mystical and literary works. Based on Norman Fairclough's method of critical discourse analysis, in the present article, the story "how a certain Sheikh showed no grief at the death of his sons" from Masnavi Manavi, Persian translation of Risala Qushayriyya and Attar's Tazkirat-al-Auliya are examined. In the three works, mystical status has been described. In the story of Masnavi Manavi, the dominant discourse is "the mystic who has united with God", in Risala Qushayriyya, it is "the station of satisfaction" and in Tazkirat-al-Auliya, it is "submission". In these anecdotes, the mystical concerns are prominent. So, these topics have been considered: certitude, spiritual power of holy man, real sympathy, attention to the Real (God), power and authority. By synthesizing the dominant discourses of mysticism, in the form of a pre-existing genre, Jalal al-Din Rūmi, Attar Neishapouri, Abul-Ghasem Qushairi have re-created a spiritual narrative. The three above mentioned works, as communicative events, are not just a reflection of their authors' thoughts, but they create a special discourse by criticizing materialistic practices and temporary and affluent affections. These works have succeeded in challenging mystical features and strengthening mystical discourse.

In the mythical-epic story of Siavash in Shahnameh, "opposition" is an impressive concept and shows itself in the relationships between characters and events. Based on the theory of Levi-Strauss, in this story, the basis of all events is two opposed principles: "attribution of high value to kinship relations" and "attribution of low value to kinship relations". There are two kind of "opposition" in the story. 1. Internal opposition that refers to confrontation between Sudabeh and Siavash in the land of Iran and the harem of Kai Kavus, this opposition provokes Siavash's pride and then his rejection, also it refers to the battle between Kai Khosrow and Fariborz, and Tus and Goudarz's controversy in favor of the two characters in the succession of Kai Kavus. The cause of this confrontation is kinship and blood-relationship or, as Levi-Strauss says, "attribution of high value to kinship relations". 2. External opposition that refers to the conspiracy of Garsivaz and the quarrel of Afrasiab with Siavash that leads to the death of Siavash. The cause of this confrontation is enmity and hostility or, as Levi-Strauss says, "attribution of low value to kinship relations". Also, the principle of "attribution of high value to kinship relations" refers to the dream of Afrasiab and Siavash and the principle of "attribution of low value to kinship relations" refers to the dream of Piran Viseh and Goudarz Kashvad.

Although Sheikh Ahmad Jam, as a mystic, used to emphasis on self-discipline, training of disciple and showing the way of suluk (spiritual journey), but on the other hand, he used to think about salvation of people, and in his writings and preaching sessions he pointed out social deviations. By employing descriptive-analytical method and based on the works of Sheikh Ahmad Jam, the present article tries to examine the most prominent social issues of the fifth century AH. So far, no independent study about his social thoughts (based on all his works) has been done. His social approach can be studied in the following six subjects: 1. social classes, 2. popular institutions, 3. religious and social groups, 4. vocations and professions, 5. mores and 6. social morals. By considering his books and treatises, the social problems of Seljuk era can be examined. As the historical sources of that period are silent about social problems, and the historians of that era were dependent on courts and rulers and disregarded to social relations, the study of the works of Sheikh Ahmad Jam is an opportunity to explore the social problems of Seljuk period.

Some scholars believe that myths are sacred narratives about the origin and destination of the universe. Although, there are apparently different views about the nature of the creation in the mythology of nations, these views are very similar and even the same in deep-structure. The stories about creation are based on an archetype, according to it, before creation there was only chaos. From this chaos, the first being appeared and from the first being, other things were created. The circle of the emergence of chaos and its transformation into order manifests constantly in human life and is symbolized in stories as dragons or demons. The emergence of the demon and dragon eliminates the order of existence, but by the killing of demon and dragon, the order returns and things get calm. The comparative and analytical research of the myths of some nations, shows that the process of chaos and its transformation into order is a psychological and cognitive action, and as human beings have many similarities and common cognitive faculties, it can be found many myths, like the myth of chaos, that have the same motif and function, though each one is expressed in a different way.

Hadiqat al Haqiqa includes mystical terms, themes and stories and has been referred to as the first mystical narrative in verse in Persian language. However, it seems that mysticism hasn’t a central role in the book. By recognizing the main and dominant views and themes in Hadiqat al Haqiqa, the present paper attempts to consider the views of Sanai about mystical terms and concepts. In order to achieve these goals and by using the structural method, the semantic relations of the words and concepts have been analyzed. It can be said that the contrast between the world and the hereafter is the main theme of Hadiqat al Haqiqa. The semantic correlations of the book indicate that about the contrast the world and the hereafter there is no difference between Sanai's views and common views in non-mystical texts. This contrast is so powerful that changes the meaning of the other mystical terms and converts them into the elements regardless of the customary esotericism in Sufism.

"Cause and effect" and "means and caused things" are theological and philosophical issues of Sufism. So far, the general understanding has been that Sufis have denied causation and consider God as real agent. The purpose of the present article is to examine these issues and to explain how Sufis believe in them. The issue of "cause and effect" has been studied in various Persian and Arabic texts, prose and verse, as well as in theological texts. The results show that, according to Sufism, "cause and effect" is something other than "means and caused things". The whole world and its phenomena are caused by an agent, "Divine Act", God is necessarily existent by itself and beyond Him there is no real cause in the world. According to Sufis' terms, what is called "cause and effect" is "means and caused things" or " the world of wisdom". So, based on this view, they have not denied cause and effect. In the belief of Muslim Sufis, "means and caused things" act on the basis of Divine traditions, they believe that God can create "caused things" without "means" and call it "the world of power".

By using symbolic and mythological language, Mohammad Qissi, Palestinian modernist poet, has been able to play an active role in the field of resistance and struggle in his country. The ancient Arabic heritage and cultures of different nations have been his source of inspiration. In addition to Babylonian, Mesopotamian and Greek myths, he has also paid great attention to Arabic and Canaanite myths. By using the descriptive-analytical method, the authors of the present article first briefly discuss the historical origin of myths and the reasons for turning Palestinian poets' attention into myths and then examine the types of myths used in Qissi's poems. The results of the research show that the poet has used the mythical heritage, including temporal, spatial, human and religious elements, to express national enthusiasm, patriotism and the idea of returning to the homeland. So, Qissi has been an honest spokesman for expressing his own and his people's plights, ideals and thoughts in inside and outside of the occupied territories.

Most prominent poets and authors use a variety of myths to immortalize their works, they compare their heroes with heroes of myths and therefore create a bridge between the present and the past and immortalize their heroes. Among the Iranian contemporary poets, Shamlou, has turned to myth because of his spirit of the struggle. He has used a variety of Iranian and global myths and thus has become a famous mythologist poet. He has utilized not only the heroic characters but also myths of animal and plant, and natural and ritual elements to express his ideals. Immortality is the trait of all myths, but the characteristic feature of Shamlou's myths is re-birth and anew life. According to his mythological view, the carnal death of hero leads to immortality. Shamlou believes that after his own carnal death, his sayings and poems lead to re-birth of "the myth of Shamlou". Therefore, he uses myths to immortalize and live up to his heroes. The poet proposes those myths that can be found the concepts of "motivation to grow" and "re-born" in them, he believes that deaths of these myths are the symbol of their life. The present article attempts to analyze these kinds of myths in the poems of Shamlou.

Sacrificing is one of the oldest rites that has been noticed by religions and nations. Throughout the ages, human beings have tried to obtain the satisfaction of the gods and to protect from the anger of them by giving gifts and sacrificing. The aim of the present article is to analyze "the myth of sacrifice" in the screenplays and plays of Bahram Beyzai. Beyzai has an extensive knowledge about myths and has used a variety of them to write his literary works. In his writings, he has used "the myth of sacrifice" in two ways. First, throughout a story, he has explicitly spoken about the ritual of "myth of sacrifice" in various forms and for various purposes. Second, he has created screenplays or plays that "hero-sacrifice" is the main character of them. And sometimes, this creative writer uses both ways. In the present article, the play Kalat Claimed and screenplays The Tales of Mir-e Kafanpoush, The land, Talhak and the Others and The Scrolls of Sheikh Sharzin are analyzed. The results of the research show that Beyzai uses a variety of sacrifices, such as bloody-human, bloody-animal, and unbloody (drinks) sacrifices. In his narratives, he divides the purpose of sacrificing into three types: for atoning, for imploration and for thanksgiving. Also, "hero-sacrifice" has a significant presence in his works.